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F  ■ilT  YEAR  ANALYSIS 


-I 


"al- MUSICAL   FORM 


THOMAS  TAPPER 


LIBRARY 

THE  UNIVERSITY 
OF  CALIFORNIA 

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PRESENTED  BY 

KATHRYN  S.  HENNESSEY 


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FIRST  YEAR 

ANALYSIS 

(MUSICAL  FORM) 


BY 

THOMAS  TAPPER,  Litt.D. 

Lecturer  at  New   York  University,  at  the  Cornell  University 

Summer  School,  and  at  the  Institute  of  Musical 

Art  of  the  City  of  New  York 


Price,  $l.OO  net 


THE   ARTHUR    P.  SCHMIDT   CO. 

BOSTON  Xi:\V    \ORK 


I20    BoYLSTON    StrKKT 


8  \Vp.st  40TU  Strket 


Copyright,  IQ14,  l>y  Arthur  P.  Schmidt 
International  Copyright  Secured 


Copyright,  1914, 

BY 

ARTHUR  P.  SCHMIDT 
A.  P.  s.  10268 


PREFACE 


The  purpose  of  this  text  is  to  acquaint  the  student  with 
the  structure  of  music.  This  requires  the  explanatory  text 
and  questions  which  are  provided  in  this  volume  and,  as 
well,  material  for  analysis  which  is  provided  in  a  separate 
volume,  entitled:  MUSICAL  FORM  AND  ANALYSIS. 
(Schmidt's  Educational  Series,  No.  122.) 

The  advantage  of  having  all  the  required  material  for 
analysis  in  one  book,  is  obvious.  The  examples  must  neces- 
sarily be  selected  from  a  wide  variety  of  sources  —  from  a 
wider  literature,  in  fact,  than  most  students  possess. 

While  this  reading  text  covers  the  more  common  forms,  it 
is  most  desirable  to  carry  out  all  the  analysis  required.  It 
is  only  by  the  actual  analytical  examination  of  music  that 
the  form  is  grasped  as  a  whole,  and  its  subsidiary  elements 
of  structure  revealed. 

A  symphony,  or  a  symy^honic  poem,  like  a  cathedral,  has 
its  ground  plan,  its  details,  its  elaborated  motives,  and  its 
interrelation  of  parts.  While  one  may  look  upon  a  cathe- 
dral in  wonder  and  admiration,  both  these  emotions  are  in- 
tensified and  justified  by  a  knowledge  of  the  creative  thought 
and  of  the  constructive  j^rocess  that  lie  in  the  work  as  a  com- 
l)lex  of  growth;  a  complex  that  is  always  reducible  to  a 
simple  basis. 


Just  as  the  most  illuminating  knowledge  of  musical  history 
lies  in  music  itself,  representative  of  the  periods  of  the  art 
of  which  we  have  record,  so  the  vital  element  of  musical 
form  is  in  music,  and  not  in  the  pages  of  a  text-book.  WTien 
the  book  serves  as  guide  to  a  knowledge  of  the  structure  of 
music,  and  the  music  itself  is  carefully  studied,  then  the 
subject  becomes  clear  and  simple. 

THOMAS  TAPPER. 

New  York, 
November  5,  1913. 


CONTENTS 


CHAPTBR  PAGB 

I  The  Cadence  and  the  Phrase i 

II   The  Phrase  and  Its  Content lo 

III  The  Period 14 

IV  Phrase  and  Period  Content 20 

V  The  Two-part  Song  Form 25 

VI   The  Ternary  Form 29 

VII   The  Ternary  Form  (Continued) 34 

VIII  The  Compound  Forms 37 

IX   Review  of  the  Primary,  or  Song  Forms 42 

X  The  Sonatine — First  Movement 44 

XI  The  Sonatine — First  Movement,  (in  Minor) 48 

XII   The  Sonata 53 

XIII  The  Sonata  as  a  Whole 56 

XIV  The  Smaller  Teaching  Pieces  and  Etudes 60 

XV  The  Rondo  of  one  Subject 64 

XVI   The  Rondo  of  Two  and  Three  Subjects 69 

X\'II   Subject  and  Episode 73 

XVIII   Terminol()(;v 76 

XIX   Test  Papers 79 

XX   The  Application  of  Musical  Form 86 

XXI    The  Simple  Song 89 

XXII    Form  and  the  Schools  of  Composition 94 

XXIII  Phrases    98 

XXIV  Modulation 106 

XXV   Recapitulation no 


FIRST    YEAR    ANALYSIS 


CHAPTER  I 
THE   CADENCE  AND   THE   PHRASE 

1.  A  single  hewn  stone  can  not,  in  itself,  indicate  anything 
definite  about  the  form  of  the  building  of  which  it  is  to  be  a 
part.  It  must  be  joined  with  other  stones  and  combined 
with  material  unlike  itself  before  the  structure  can  be  made 
evident. 

2.  Ordinarily,  the  subject  of  Musical  Form  begins  with 
the  study  of  the  Motive  as  the  smallest  constructive  unit, 
and  proceeds  in  orderly  manner  to  the  largest  instrumental 
forms.  We  will,  however,  in  this  chapter,  first  familiarize 
ourselves  with  the  structure  of  a  small,  but  complete  piece 
of  music  of  the  simi)lest  character,  and  by  analysis  de- 
termine just  how  the  composer  has  wrought  the  various 
elements  into  a  unity. 

3.  The  student  will  find  on  page  5  of  the  companion 
volume  to  this  text  book  (MUSICAL  FORM  AND  ANALYSIS) 
the  Theme  in  A  major  from  the  Sonata,  by  Mozart  (Litolff 
edition.  No.  302,  Sonata  XII). 

4.  Before  beginning  the  analysis  of  this  composition,  we 
must  remember  that  music  is  motion,  that  the  motion  of 
music  reciuires  a  clefinite  amount  of  time  for  its  comjiletion; 
that  the  tempo  mark  is  an  approximately  exact  indication  of 
the  amount  of  time  necessary  to  perform  the  music.     The 

(■) 


expression  "approximately  exact"  is  used  because  in  all 
music  there  is  a  retardation  or  acceleration  of  the  tempo  for 
artistic  effect. 

5.  Now  the  motion  of  music,  that  is,  its  inherent  move- 
ment including  the  time  duration  required  for  its  completion, 
is,  like  poetry,  punctuated  at  certain  points.  These  are 
simply  the  breathing  points  in  the  melody.  If  the  compo- 
sition before  us  be  played  at  the  piano,  we  shall  be  sensible 
of  a  pause  in  the  fourth  measure;  of  a  still  more  definite 
pause  in  the  eighth  measure,  where  the  double  bar  indicates 
the  termination  of  a  distinct  portion.  Continuing,  we  feel 
the  sense  of  rest  in  the  twelfth  measure,  in  the  sixteenth,  and 
in  the  eighteenth  or  final  measure. 

6.  Such  resting  points  are  called  Cadences,  and  as  the 
cadence  is  always  a  determinant  factor  in  musical  analysis, 
let  us  turn  for  a  moment  from  the  composition  before  us  to 
the  subject  of  cadences. 

7.  The  word  cadence  in  English  is  a  derivation  of  the 
Latin  word  Cado,  I  fail.  It  refers  to  the  falling  of  the  voice 
at  the  close  of  a  statement  or  sentence.  In  music,  the 
"closing"  effect  of  the  cadence  may  take  on  many  colors 
and  convey  many  impressions,  all  of  which  are  indicative  of 
the  feeling  and  degree  of  finality  which  they  bring  about. 

8.  Hence,  the  student  should  thoroughly  master  the  fol- 
lowing cadential-formulas.  There  are  four  principal  kinds 
of  cadence: 

1.  The  Authentic  (or  direct)  Cadence,  which  proceeds 
from  the  chord  of  V  to  the  chord  of  I. 

2.  The   Plagal   for  indirect)    Cadence,   which   proceeds 
from  the  chord  of  IV  to  the  chord  of  I. 

3.  The  Half  (or  semi)  Cadence,  which  jiroceeds  (usually) 
from  the  chord  of  I  to  the  chord  of  \'. 


4-   The  Deceptive  (or  unexpected)  Cadence,  which  pro- 
ceeds from  the  chord  of  V  to  the  chord  of  VI. 

9.  Each  of  these  cadences  has  three  forms.  If  the  final 
chord  ends  with  the  octave  of  the  bass  in  the  uppermost 
voice  the  cadence  is  said  to  be  Perfect;  if  it  ends  with  third 
or  fifth  of  the  bass  in  the  upper  voice,  the  cadence  is  said  to 
be  Imperfect. 

10.  Here  follow  all  four  cadence  groups  in  the  Perfect  and 
Imperfect  forms  (a)  in  Close  harmony,  (b)  in  Open  harmony. 
The  student  should  thoroughly  master  these  and  transpose 
them  to  all  keys,  major  and  minor. 

I.   Cadences  in  Close  Position 

Authentic 


: — « « '9 1 


9^= 


Perfect 


-I: 


4-  ^- 
f9- 


£=2 


cJ- 


Im  perfect 


5.-         -g- 

Imperfect 


tE 


-<9- 


^^- 


^z—± 


I 
I 


Plagal 


Deceptive 


nperfect 


Imperfect 


I 


n.   Cadences  in  Open  Position 

3 


Plagal 


Perfect 


m 


S=?_: 


'T — r— 

Inijjerfect 

fi> — 


+- 


Imjxrfect 
^C>-         -*^-  -i9- 


Half 
I 


i-«=i=i- 


-•-    -•-    jj-^      r     r  r     !       r 

Perfect  Imjxjrfect  Iinj)erfect 


_J 1 —    -.  _^- 


I  >insptive 


11.  Returning  now  to  the  Mozart  Theme  in  A  major,  we 
can  determine  whether  the  resting  points  in  measures  four, 
eight,  twelve,  sixteen,  and  eighteen  are  cadences,  or  not.* 

In  measure  four,  the  chord  succession  is  I  —  V  (Half 
Cadence,  Imperfect). 

In  measure  eight,  the  chord  succession  is  V  —  I  (Au- 
thentic Cadence,  Perfect). 

In  measure  twelve,  the  chord  succession  is  I  —  V  (Half 
Cadence,  Imperfect). 

In  measure  sixteen,  the  chord  succession  is  V  —  I 
(Authentic  Cadence,  Imperfect),  leading  over  with- 
out cessation  to  measure  eighteen,  where  the  chord 
succession  is  V  —  I  (Authentic  Cadence,  Perfect). 

12.  The  cadences  subdivide  their  total  length  of  melody 
in  five  portions,  thus: 


^=rp    ,^^  ,1-,-l4.  HiziN:— :p;i-=-| 


*  The   cadcmc   must   (omplctf   itself  on   ;i   metrically   strong   beat. 
Thus,  in  ',,  on  the  first  or  fourth  licals,  unless  dchiyrJ  by  Snspnisiiins. 


^5^^=|^^^Ep-gEfe 


13.  Of  these,  the  second  and  last  end  in  a  manner  entirely 
satisfactory  to  the  ear;  while  the  first,  third,  and  fourth 
produce  the  feeling  of  incompleteness. 

14.  .1//  7misic  is  a  su'ayirig  or  swinging  from  points  of  rest 
to  points  of  unrest. 

15.  We  have  now  noted  that  the  cadence  punctuates  the 
melody,  separating  its  total  length  into  dehnite  portions. 

16.  Definition:  A  Phrase  is  a  portion  of  melody  ending 
in  a  cadence. 

17.  Xote:  The  phrase  is  never  determined  by  the  number 
of  measures,  but  by  the  {presence  of  the  cadence.  Hence 
there  are  phrases  of  \arious  lengths  from  two  measures  to 
manv.  The  fcjliowing  illustrations  will  make  this  clear.  It 
is  to  i)e  noted   that  tempo   has  a   direct    In-aring  on   phrase 


length.  The  quicker  the  tempo,  the  longer  the  phrase  may 
be,  and  conversely,  the  slower  the  tempo,  the  shorter  the 
phrase.  In  each  of  the  phrases  that  follow,  observe  that  the 
trend  or  impulse  of  the  rhythm  is  to  reach  a  resting  point. 


Two  measures 


Adagio 


^^E 


Five  measures 
Moderato 


^AE^> 


PFt^=1=: 


g^ 


Six  measures 
Moderato 


pr-t: 


Eight  measures 
Presto 


'3fe^E#=: 


-•-  _#.  -». 


-•-  -p.  JIL 


i|SzliES5^^i;i 


Ten  measures 
A  IU\'retto 

-  -    o>  -  ^- 


P^-V-P-^^ 


,      _  _  ^      ^^ 


Questions 

1.  Define    the   words   Theme,    Sonata.     (See    Chapter 

xvni.) 

2.  What  are  the  four  forms  of  Cadence? 

3.  Give    root-meanings    of   the   words   Authentic   and 
Plagal. 

4.  Does  length  determine  the  phrase? 

5.  Why  is  the  following  a  phrase? 


6.  When  are  cadences  perfect  ? 

7.  Compare   the  perfect    with    the   imperfect   form   of 
cadence. 

8.  What  form  of  cadence  is  illustrated  by  this  example  ? 


i 


J      J      J.       ^^     -g-^^ 1 


^ 


r     r 


9.   What  effect  has  tempo  on  phrase  length  ? 
10.  What  do  you  understand  by  the  rhythm  of  music  and 
of  poetry  ? 


Constructive  Work 


18.  Analysis  of  music  reveals  the  most  if  its  practice  be 
accompanied  by  synthesis,  or  "building  up."  'rhercfore,  the 
student  may  profitably  undertake  to  construct  the  forms 


under  discussion,  particularly  when  the  forms  are  short. 
At  this  point,  any  of  the  first  chapters  in  First  Year  Melody 
Writing,*  may  be  taken  up  for  study.  The  work  there  re- 
quired should  be  written  out,  and  retained  for  elaboration 
or  amplification,  later  on. 


*  First  Year  Melody  Writing  by  Thomas  Tapper.     Published  by 
Arthur  P.  Schmidt. 


zo 


CHAPTER  II 
THE  PHRASE  AND   ITS   CONTENT 

1.  The  content  of  the  phrase,  its  meter,  melody  line, 
rhythmic  structure,  and  tempo  all  unite  to  establish  the 
character  or  individuality  of  the  music.  And  in  the  com- 
bination produced  by  these  factors  the  music  attains  its 
relative  degree  of  originality. 

2.  The  Meter  establishes  the  pulse-succession,  marked  off 
by  accents. 

3.  The  Melody  is  the  line  of  beauty,  the  distinctive  tune. 

4.  The  Rhythm  is  the  relative  tone  lengths  that  give  the 
melody  its  characteristic  motion;  and  finally,  the  Tempo  is 
the  degree  of  speed  at  which  the  music  moves. 

5.  Even  a  portion  of  melody  as  short  as  a  phrase  must 
exhibit  these  factors  so  completely  that  the  phrase  itself 
makes  a  definite  impression.  Let  us  examine  closely  a 
phrase  of  the  Mozart  Theme  in  A: 


6.  We  see  at  once  that  the  rhythm  of  the  first  measure  is 
exactly  repe^fted  in  the  second:  •■7«  «  ,'**  The  third  and 
fourth  measures  appear  to  be  difi'erent.  But  we  can  take 
the  rhythmic  figure  of  the  first  measure  and  subdivide  it  into 
two  portions  (i)  ^-Z  0  and  (2)  ,  ^  This  second  j)ortion  is 
the  basis  of  measures  three  and  four. 


7-  Such  a  group  as  this  J.  ^  J  J  ^"^  is  generally  referred  to 
as  a  Motive.  (Motive  from  mover e  [Latin],  meaning  to 
move.) 

8.  A  Motive  is  a  short  figure  so  constructed  rhythmically 
that  it  is  capable  of  various  alterations  that  are  practical  as 
melodic  tendency  or  progression.  Frequently  a  motive  is 
long  enough  (as  in  the  case  under  our  observation)  to  be 
divided.  The  divisions  are  then  referred  to  as  Motive 
Members.  Thus:  the  complete  motive  J.  «  J  ,  /  Motive 
Members,  (o)  JT^  (b)  J    J" 

g.  A  motive  may  be  varied  in  many  ways  in  its  service  as 
the  basis  of  a  phrase  or  of  a  longer  group. 

I.   It  may  be  repeated  at  a  higher  or  lower  scale  degree: 


liPS^Sis^^aEpS^g: 


2.    It  may  be  exactly  repeated. 
a  b 


W^^f^^=^^ 


:±=:=^. 


4= 


I 


3.    Its  intervals  may  be  expanded. 


f^^l 


m^^^m 


4.    or  contracted. 


M^-^.^^^^. 


"^^^ 


X2 


5.   The  motive  may  be  inverted  (as  to  direction). 


.3 


^^ 


^: 


i 


I 


6.   The  note  values  may  be  augmented  or  decreased. 


-=»— « — *- 


I 


10.  The  student  should  take  a  simple  motive  and  by 
various  applications  of  it,  compose  melodies,  always  aiming 
to  preserve  the  original  figure  (wholly  or  in  part)  and  to 
produce  a  pleasing  rhythmical  result.  By  way  of  illustra- 
tion, the  above  quoted  motive  from  Mozart  may  be  thus 
expressed  as  a  phrase: 


II.   The  following  motives  may  be  taken  for  practice, 
together  with  others  of  the  student's  own  invention: 
I  2 


m 


^^^^^^ 


^j 


-^4-^- 


m 


MUSICAL  FORM  AND  ANALYSIS,  No.  2,  Cornelius  Gur- 
litt  —  Sailor's  Song,  Op.  172,  Xo.  14. 


13 

Analysis 

1.  What  is  the  key? 

2.  The  length  of  the  first  phrase  ? 

3.  How  many  phrases  constitute  the  entire  piece? 

4.  Which  phrases  are  more  or  less  aHke? 

5.  How  long  is  the  first  complete  motive,  of  the  right 
hand  part? 

6.  Whence   comes    the    group    used    in    the    last    four 
measures  ? 

7.  What  cadence  form  is  found  at  the  eighth  measure? 
At  the  sixteenth? 

8.  Name  the  key  in  measure  eight. 

9.  How  would  you  describe  the  picture  that  the  com- 
poser desires  us  to  see  in  his  choice  of  title  ? 

10.    Is  the  title  a  definite  image,  or  the  suggestion  of  a 
mood  ? 


>4 


CHAPTER  III 
THE  PERIOD 

1.  The  Phrase  has  been  defined  as  a  portion  of  melody 
(or  a  complete  melody)  ending  in  a  cadence  of  some  kind. 
The  phrase  may  be  any  length  from  two  measures  to  many, 
but  the  one  distinctive  fact  about  it  is  that  it  makes  a  con- 
clusion, comes  to  a  point  of  rest,  more  or  less  satisfactory 
and  complete. 

2.  Examining  such  phrases  as  are  given  in  Chapter  I, 
par.  17,  we  note  that  the  music  begins,  moves  forward,  and 
rests.  It  has,  in  short,  a  momentum  that  keeps  it  going 
for  a  time;  then  the  momentum  relaxes,  to  be  resumed 
again  in  its  impulse  to  reach  the  concluding  point.  With 
increased  experience  in  analysis,  the  student  will  note  that 
while  phrases  may  be  of  any  number  of  measures  (within 
certain  limits),  the  majority  are  either  four  measures  long, 
in  a  moderate  tempo,  or  eight  measures  long  in  a  quick 
tempo.  These  are  referred  to  as  regular  short  phrases 
(four  measures),  and  regular  long  phrases  (eight  measures); 
while  all  others  (two,  three,  six,  ten,  etc.)  are  denominated 
irregular  phrases. 

3.  It  will  further  be  observed  that  the  phrase  is  rarely  a 
complete  form.  In  nearly  all  instances  the  phrase  is  a  part 
(usually  one-half)  of  a  larger  form  called  the  Period. 

4.  The  Period  is  a  group  of  two  (rarely  three)  phrases 
related  as  Thesis  and  Antithesis.  Referring  again  to  the 
Theme  in  A,  by  Mozart,  the  first  eight  measures  are  a 
period.  This  period  is  of  two  phrases,  each  of  niore  or  less 
the  same  melody  —  but  of  contrasting  cadences. 


15 

5.  When  an  eight  measure  structure  consists  of  a  first 
phrase  which  is  exactly  repeated  in  the  second,  we  have  a 
double  phrase  and  not  a  period.     Note  carefully  these  facts: 

1.  The  two  phrases  of  a  period,  if  substantially  alike  in 
melody,  will  have  unlike  cadences. 

2.  Or  the  two  phrases  may  have  unlike  melodies. 

3.  The  cadences    of  two  successive  phrases  are  rarely, 
if  ever,  identical. 

6.  We  have  seen  that  phrases  may  be  irregular  as  to 
length.  As  the  period  is  constructed  of  phrases  (generally  of 
two)  so  it  may  in  turn  be  irregular  as  to  length. 

7.  The  regular  small  period  is  of  two  phrases,  each  of 
four  measures: 


:t:i±S 


:H 


Phrase 


Phrase 


8.    The  regular  large  period  is  of  two  phrases,  each  of 
eight  measures: 


l^resto 


i4,pf^igi^^iEgsi 


Phrase 


=d^^-r 


m^^ 


-I — \ —  I — hi — I — \- 


^^rfitp: 


iii^H 


9.  The  following  are  tyjx's  of  irregular  ]-)criods.  The 
student  should  examine  each  example,  and  state  in  what 
the  irrc'gularitv  consists. 


i6 


10.  Turn  to  selection  No.  3  in  MUSICAL  FORM  AND 
ANALYSIS:  Theme  from  the  Rondo  in  D  major,  Sonata  No. 
IX,  Mozart. 

11.  The  key  is  A  major.  The  phrases  are  eight  meas- 
ures each.  The  first  ends  in  a  half  cadence  (eighth  measure), 
the  second  in  an  authentic  cadence,  perfect  (sixteenth  meas- 
ure). The  impulse  of  the  music  is  continuous  from  measure 
one  to  eight  inclusive,  the  apparent  cadential  point  in 
measure  four  being  passed  over  without  a  sensible  break  or 
cessation  by  reason  of  the  continuous  motion  in  the  bass. 
Such  a  semi-cadential  effect  is  called  a  Caesura. 

12.  The  Cicsura  is  a  rhythmical  end-point  in  a  melody. 
It  should  be  clearly  distinguished  from  the  cadential  end- 
point. 

Constructive  Work 

13.  The  student  should  reconstruct  the  phrases  written 
in  the  previous  lesson,  and  by  coordination  and  amplifica- 
tion, convert  them  into  periods.  Write  in  both  the  small 
and  large  period  forms,  and  in  simple  rhythmical  forms. 
Thus: 


17 


A.   The  small  period: 


2i^ 


^ 


5t=:|= 


fW- 


r=.^ 


SEHt 


ggy 


B.   The  large  period: 


iS^Siii 


y 


■•-   -fz- 


5^^i=^§ 


s^^ 


C.   The  small  period  of  unlike  phrases: 


:S?F-^-^^" 


=^iz=:t?f:q=:jd:i 


±=jt 


J=t?: 


^c=i: 


t^t 


P=^ 


^d2- 


-^-^--^ .  ^_l^^ 


• — •-T-h —  I —  I ^-r^ — ^T-* — r- 


p=i=^ 


I 


Analysis 

14.    MUSICAL   FORM   AND    ANALYSIS,    Selection  No.  4: 
Lament,  by  Cornelius  Gurlitt. 

1.  What  is  the  key? 

2.  What  cadence  occurs  in  measure  four?     In  measure 
cif^ht  ?     (This  is  the  first  comj^lete  period.) 

3.  Wliat  is  the  key  in  measures  nine  to  twelve? 

4.  What  cadence,  in  measure  fourteen? 


i8 

5.  Measure  six:   What  is  the   root  of  the  chord   on 
the  first  beat?     On  the  third? 

6.  Measure  seven:  first  beat:  What  is  the  interval 
C  flat  to  F? 

(Note  in  measure  eight  the  F  flat.  This  tone  serves  to 
join  the  end  of  the  second  phrase  with  the  beginning  of  the 
third.  Such  a  connective  is  called  a  Melodic  Conjunction. 
Does  this  occur  again,  in  any  part  of  the  music?) 

7.  Write  in  close  and  in  open  harmony,  the  V,  VI 
(deceptive)  cadence  in  F  minor. 

8.  Write  in  the  same  key,  the  two  forms  of  imperfect 
authentic  cadence. 

9.  Why  is  E  natural  used  in  the  first  period? 
10.   Why  is  E  flat  used  in  the  third  phrase? 

Selection  No.  5.  Etude  in  C  major,  Concone.  (MUSICAL 
FORM    AND    ANALYSIS.) 

1.  Measure  four:    What  is  the  key  and  the  cadence 
form? 

2.  Is  the  second  phrase  like  the  first? 

3.  Compare  phrases  one  and  three  harmonically. 

4.  In  like  manner  compare  phrases  two  and  four. 

5.  Part  II    (after  the  first  double  bar).     What  is  the 
key  of  the  first  four  measures? 

6.  Of  measures  twenty-one  to  twenty-four? 

7.  Measures  twenty-five  to  thirty-two:   Arc  they  new? 

8.  From  measure  thirty-three  to  thirty-six:    What  is 
suggested  by  the  A  flat. 

g.   Determine  the  total  number  of  phrases  in  the  com- 
position. 
10.   Which  are  repeated  in  identical  form? 
15.    The  student  should  make  it  a  point,  in  all  his  study 
of  music,  to  apply  the  princi])les  of  Form  as  rapidly  as  he 


19 

learns  them.  This  trains  the  observation.  Up  to  this  point 
he  has  been  made  acquainted  with  certain  elements  that  he 
should  note  immediately  when  performing  music.  These 
elements  are: 

1.  The  motive  and  its  variations. 

2.  Cadences  of  all  kinds  as  phrase  endings. 

3.  The  Phrase  and  Period,  in  regular  and  irregular 
lengths. 

4.  The  Caesural  pause. 

5.  The  identity  of  phrases  and  periods  in  a  composition. 

6.  Modulation  as  fixed  by  cadences. 

7.  Passing  modulation  (or  suggestion  of  another  key, 
that  is  not  made  permanent). 


2o 


CHAPTER  IV 
PHRASE  AND  PERIOEl  CONTENT 

1.  Various  subdivisions  of  rhythmic  structure  may  be 
made  that  illustrate  how  the  composer  applies  economically 
the  thematic  material  he  employs.  "Economically"  de- 
scribes the  careful  use  of  material  by  the  skilled  composer, 
in  that  he  formulates  only  such  as  lends  itself  to  infinite 
adaptability.  Out  of  this  practice  there  comes  a  unity,  in 
the  musical  composition,  that  is  of  great  interest;  when  this 
unity  is  the  handmaid  of  beauty  we  have  the  highest  form  of 
constructive  music. 

2.  We  have  seen  that  the  period  may  be  a  complete 
musical  thought.  For  instance,  the  following  folk  song  is  a 
period  only,  in  length,  and  yet  it  is  a  complete  expression  in 
melody. 


Again,  as  we  have  seen,  the  period  is  divisible  into  two 
equal  parts,  each  called  a  phrase.  The  division  of  the 
phrase  into  two  sections  may  be  {)urcly  mechanical  or  it 
may  be  natural;  mechanical  when  there  is  nci  pause  that 
creates  a  feeling  of  subdivision;  natural  when  a  ca-sural 
ending  creates  a  breathing  point. 


21 


3.   The  following  outline  will  present  these  parts  in  their 
interrelation :  / 

The        Period 


Phrase 


Phrase 


Section 


Section 


Section 


.    Section 


4.  Often  the  section  is  divisible  into  equal  portions.  In 
the  case  of  an  eight  measure  j^eriod  the  subdivided  section 
becomes  two  single  measures  called  Monometers,  or  one- 
measure  rhythms. 

5.  These  various  subdivisions  are  shown  in  the  following 
period : 

Andante.   Monometer   Monometer 


^^- 


^=r^^=Sz^|3^^^^^^IP^I 


Section   . 


Section 


First   I'lirase        (Tiiesis 


) 


Section      .      .      .      .'  .      .      .1      .Section 


^-^^^^S^^:^P^m^^=^ 


I 


Second  I'hrase   (Antitiiesis) 

6.    The  suuk'iil  should  study  these  quotations,  and  mark 
the  monometers,  sections,  and  piirases  in  each. 


#=• 


-s* — 


•    •    9 


:^ — 


23 


ffi 


I: 

fa 


^ 


r-r-r 


B5 


? — • — ^ • 0- — • 1©^ 


-• ^ 


m 


Pi=5: 


fe#.^^^ 


:i=t 


s^^-^ 


:t=q 


l^-=i 


^3^ 


-3=i — • 


1 


pBEi 


IltZX^ 


-1 1- 


-* *- 


-s^y- 


J^ESf 


^^ 


7.  MUSICAL  FORM  AND  ANALYSIS:  Selection  No.  6. 
Mignon,  by  Robert  Schumann. 

8.  Note  the  prevalence  of  the  opening  monometric  figure 
(rhythm).  This  initial  group,  or  motive,  appears  with  very 
slight  rhythmic  change  in  nearly  every  measure.  The  bass 
departs  only  in  two  measures  from  this  figure  J  .    J 

1.  Measure  three:  What  key  enters  here? 

2.  Measures  eight  and  nine:   What  key? 


23 

3-   Part  II  (measure  thirteen):  Opens  on  what  chord? 

4.  What  is  the  influence  of  the  F  sharp  in  the  following 
measures  (fourteen  to  eighteen)  ? 

5.  Beginning  with  measure  twenty-two:  What  key? 

6.  What  grouping  of  measures  (as  to  phrasal  division) 
is  evident? 

7.  What  {purpose   is   served   by   measures   sixteen   and 
seventeen  ? 

8.  Indicate  the  one  measure   (Monometer),   and  more 
than  one  measure  (Sections,  etc.)  groups  throughout. 


Constructive  Work 

9.  The  student  should  write  simple  phrases  and  periods 
in  which  a  one  measure  rhythm  is  de\eloped;  others  should 
contain  the  one  and  two  measure  rhythms. 

ID.  Reference  has  been  made  to  irregular  period  forms. 
It  often  occurs  that  the  composer  desires  to  defer  the  linal 
cadence.  This  is  done  by  a  nu)mentary  turning  aside  from 
the  naturally  anticii)ated  final  chord  and  (generally)  by  a 
repetition,  arri\ing  at  the  close  after  an  unexpected  delay. 
This  is  often  attained  through  the  decei)ti\e  cadence.  This 
is  illustrated  in  Selection  Xo.  7,  of  the  com])anion  vol- 
ume —  MUSICAL  FORM  AND  ANALYSIS,  Op.  08,  Xo.  13 
(Mai,  lieber  Mai).  The  ear  anticii)ates  in  measure  eight  a 
close  on  the  tonic  of  B  maj\)r.  This  expected  ending  is 
turned  aside  through  the  introduction  of  a  momentan,'  pause 
through  V,  \'I,  following  whicli  tlie  two  measures  are  re- 
peati'd  with  more  forcible  climax,  concluding  on  the  expected 
tonic  chord  of  1>  major. 


«4 


Analysis 


11.  The  first  complete  rhythmic  group  is  of  two  measures. 
This  is  followed  by  another,  and  similar,  two  measure  group ; 
then  two  monometers,  after  which  two  (cadence)  measures 
occur  twice. 

12.  The  student  should  begin  with  the  second  part,  after 
the  double  bar,  and  similarly  analyze  the  rest  of  the  com- 
position. 

13.  Note:  In  counting  measures,  proceed  from  the  initial 
beat  to  its  corresponding  part  of  the  first  full  measure. 
Thus,  in  the  Schumann  melody,  the  measures  are  properly 
indicated  by  the  lines: 


measure  one 


measure  two 


25 


CHAPTER  V 
THE  TWO-PART  SONG  FORM 

(The  Binary) 

1 .  Neither  the  phrase  nor  the  period  is  sufficiently  long  to 
convey  but  a  brief  expression.  Comparing  the  period,  as  a 
complete  form,  with  the  first  movement  of  a  sonata,  we 
realize  that  it  is  only  as  music  is  built  up  into  larger  and  ap- 
parently more  complex  structures  that  it  can  convey  a  well- 
rounded  and  sustained  meaning. 

2.  The  smaller  units  that  we  have  been  considering,  par- 
ticularly the  period,  become  the  basis  for  form  extension. 
In  simple  musical  forms  two  periods  may  be  employed  to 
constitute  a  complete  composition.  With  proper  unity  and 
variety  such  a  combination  of  two  periods  is  called  a  Two- 
Part  Song  Form,  or  a  Binary  Form.  If  the  phrases  are  short 
(four  measures)  the  entire  form  is  called  a  Small  Binary. 
If  the  phrases  are  long  (eight  measures)  the  form  is  known  as 
a  Large  Binary. 

3.  Regularly  constructed,  therefore,  the  small  binary 
will  consist  of  sixteen  measures,  and  the  large  binary  of 
thirty-two.     Thus: 

Small  Binary: 

Four  m.  phrase.     Four  m.  phrase  =  Period  I 

Four  m.  phrase.     Four  m.  phrase  =  Period  II 
Large  Binary: 

Figlit  m.  ])hrase     Eight  m.  phrase  =  Period  I 

Eight  111.  i)hraso     l-jght  m.  plirase  =  Period  II 


26 


4.  In  order  that  two  periods  may  be  united  into  a  single 
and  complete  form,  they  must  contain  something  in  common. 
That  is  to  say,  the  choice  and  union  of  any  two  periods 
(even  in  the  same  key  and  meter)  would  not  constitute  a 
well-balanced  binary. 

5.  The  necessary  balance  must  be  found  in  the  phrase 
succession.  A  common  form  of  binary  is  that  in  which  this 
identity  (or  general  sequence  of  phrases)  is  found: 


6.  By  this  diagram  is  meant,  that  in  melodic  content,  the 
first,  second,  and  fourth  phrases  are  more  or  less  the  same, 
while  the  third  phrase  (b)  is  in  contrast.  The  following 
melody  illustrates  this: 


Andante     Phrase  A 


Phrase  A 


Phrase  B 


Phrase  A 


^^m^^^ 


7.    The  binary  may,  again,  take  this  phrase  sequence: 
(  I      I  . 

a  b       Cadence  in  the  Dominant 

I 1      I  I 

a  b        Cadence  in  the  Tonic 


27 

8.  In  this  form  the  two  periods  are  substantially  the  same 
in  melodic  content,  but  of  contrasting  cadences. 

9.  The  student  should  not  fail  to  note  that  a  period  re- 
peated, even  with  rhythmical  variations  (harmonic  content 
and  cadences  remaining  the  same),  does  not  constitute  a 
binary. 

10.  While  there  are  other  varieties  of  binary  form,  the 
two  mentioned  are  by  far  the  more  common.  The  binary 
is  by  no  means  as  frequent  as  the  ternary,  in  the  music  of 
the  best  composers.  Yet  the  student  will  have  little  diffi- 
culty in  recognizing  it.     The  principal  factors  to  keep  in 

jnind  are  d)  the  presence  of  ic)ur  phrases,  (?)  s';^Tn<^  <^pg^<?^, 
of  unity  and  varietv  between  the  phr^isps. 

11.  Occasionally  the  binary  is  extended.  The  first  selec- 
tion of  the  companion  volume  (Mozart:  Theme  in  A) 
illustrates  this.     The  phrase  balance  is  properly: 


(a)  four  m  (a)  four  m. 


(b)  four  m.  (a)  six  m. 

12.  Abbreviations  of  this  form  (through  the  shortening 
of  a  phrase)  are  probably  non-existent,  because  the  form  is 
so  short  that  any  elimination  can  only  result  in  destroying 
the  total  unity. 

Analysis 

13-  MUSICAL  FORM  AND  ANALYSIS:  Selection  No.  8. 
From  the  second  Sonata  (Beethoven)  Largo  (first  nineteen 
measures  only). 

14.  The  first  phrase  is  of  four  measures,  and  ends  in  a 
half-cadence  on  the  dDniinant.  The  second  phrase  of  four 
measures  ends  on  a  perfect  authentic  cadence  in  tlie  key  of 


28 

the  tonic.     These  two  phrases  are  of  similar  melodic  and 
rhythmic  structure. 

15.  The  third  phrase  of  entirely  new  material  is  of  four 
measures.  The  final  measure  merges  into  the  return  of  the 
first  phrase  in  measure  thirteen.  This  (fourth)  phrase  is 
extended  to  seven  measures  and  concludes  on  the  tonic  of 
D  major.  This  extended  binary  may  be  expressed  thus: 
Phrase  A  Phrase  A 


four  m.  four  m. 

Phrase  B  Phrase  A 


I 1  I 1 

four  m.  seven  m. 

MUSICAL    FORM    AND    ANALYSIS:      Selection    No.    9. 
Mozart:  Theme  in  D  Major. 

1.  Compare  phrases  one  and  two  (measures  one  to  four 
with  five  to  eight). 

2.  To  what  extent  are  they  identical?  Is  similarity 
more  prevalent  than  identity? 

3.  Compare  in  like  manner,  j)hrase  four  with  phrase 
one,  and  with  ])hrase  two. 

4.  Note  the  structure  of  phrase  three.  Is  it  of  entirely 
new  matter? 

5.  Name  the  four  cadences. 

6.  What  modulations  occur? 

7.  Note  the  moti\-e  in\-ersion  in  measure  fi\-c  from 
measure  one  (the  descending  eighths  as  against  the 
ascending). 

8.  And  in  measure  ten  the  presence  of  this  same  rhythm 
JTTZ  descending. 

9.  Note  the  rests  before  the  entrance  of  the  fourth 
phrase.     How  manv  are  tlu'  total  luinihcr  of  measures? 


29 


CHAPTER    VI 
THE  TERNARY  FORM 

I.  Not  alone  in  music,  but  in  all  the  arts,  the  Ternary, 
or  three  part,  structure  is  of  far  more  frequent  occurrence 
than  is  the  binary,  or  two  part.  The  reason  for  this  is, 
possibly,  that  it  permits  a  better  balance  of  parts;  a  rela- 
tion of  motives  of  which  the  first  and  third  are  alike,  and 
the  second  in  contrast.  The  following  figure  will  illustrate 
this: 


Part  I 


Part  II 


Part  III 
Like  I 


2.  Tn  all  dccoralixc  arts  there  must  be  absolute  bahmce 
and  identity  between  the  first  and  third  ])ortions  of  the 
figure,  for  the  reason  that  the  eye  demands  ])erfect  quan- 
titative relation.  In  niusic,  howe\er,  this  absolute  identity 
(between  first  and  third  parts)  is  not  essential,  for  the  ear  is 
satisfied  with  a  qualitative  relation. 

3.  In  ternary  musical  forms,  then,  we  ha\-e  a  first 
jH-riod  that  is  rej)eated  more  or  less  literally  as  third  period, 
and  these  two  are  separated  by  a  niiddle  jiortion  of  ditTer- 
ent  motive  and  design. 


3° 

4.  A  ternary  form  based  on  the  eight  measure  period  as 
unit,  would  consist,  then,  of  these  three  parts: 

1.  First  period  (of  two  four  measure  phrases). 

2.  Second  period  (of  two  four  measure  phrases). 

3.  Third  period  (Uke  the  first  period). 

5.  In  major  keys,  the  first  period  may  end  in  the  domi- 
nant key;  but  the  third  period  will  return  to  the  tonic  in 
its  final  phrase.  The  following  melody  is  the  simplest  illus- 
tration of  this  structure  in  regular  form. 


First  Period 


iS^ 


m 


*=3t 


Second  Period 


tm\ 


^-0 


^ 


wnsff- 


ws 


=F± 


Third  Period 


£zftrrrj'l  J  hlS-0^\fJ^'^\ 


6.  In  minor  keys,  the  first  period  may  end  either  in  the 
relative  major  or  in  the  minor  key  of  the  dominant. 

7.  Absolutely  regular  ternary  forms  arc  not  as  common 
as  the  irregular.  The  irregularity  may  be  brought  about 
in  several  ways,  but  usually  two  predominate: 

1.  The  middle  (second)  period  is  abbreviated. 

2.  The  final  (third)  j)eriod  is  lengthened. 

8.  Examine  Selection  No.  10  in  MUSICAL  FORM  AND 
ANALYSIS:    Theme  in  G  major  —  Beethoven. 


31 

9.  The  first  period  is  regularly  constructed  of  two  four 
measure  phrases,  and  remains  in  the  key  of  the  tonic. 

10.  The  third  period  is  again  the  first  period  transposed 
an  octave  higher  and  slightly  varied  rhythmically  in  the 
last  measure  but  one. 

11.  Now  this  identity  of  key  in  these  two  portions  of  the 
form,  naturally  suggests  and  demands  opposing  key-color 
in  the  middle  portion.  Examining  this,  we  find  that  it  is 
not,  as  it  should  be  regularly,  a  period  but  a  four  measure 
phrase;  and  that  the  key-color  is  that  of  E  minor  (measure 
nine)  moving  to  the  dominant  of  G  major  in  measure  twelve. 
The  form  as  a  whole  may  be  pictured  thus: 


Eight  m.  period         Four  m.  phrase         Eight  m.  period 
in  G  in  G 

12.  As  no  adequate  idea  of  this  very  prevalent  form  can 
be  obtained  without  extensive  analysis,  the  student  should 
study  Selections  Xos.  ii,  12,  13,  in  MUSICAL  FORM  AND 
ANALYSIS,  observing  the  exact  length  of  each  of  the  three 
portions,  the  modulations,  rhythmic  variations,  and  melodic 
changes  in  the  third  period  to  bring  it  to  a  close  in  the  key 
of  the  tonic. 

13.  Ternary  forms  constructed  on  the  iUght  measure 
period  as  a  basic  unit,  arc  called  Small  forms  as  against 
those  constructed  upon  the  sixtciai  measure  period  which 
arc  the  Large  ternary.  Regularly  constructed,  the  large 
ternary  consists  of  three  periods  each  of  sixteen  measures, 
or  a  total  of  forty-eight  measures.  In  taking  u])  a  new  com- 
position  for  jinalysis  the  student  should  first  noj.e  its  length 
in  measures;  next,  whether  the  entire  first  period  is  intro- 
duced   as    third    part.      Forms    of    ajiparently   twenty- four 


32 

measures  (with  first  period  repeated  in  third  part)  are  gen- 
erally small  ternary;  while  those  of  forty-eight,  or  there- 
abouts, are  apt  to  be  large  ternaries.  But  in  determining 
the  ternary,  the  principal  factor  is  the  reappearance  of  the 
first  period  as  third,  with  possible  difference  of  key,  and  also 
with  possible  lengthening  through  the  addition  of  two  or 
four  measures,  which  added  measures  are  sometimes  called 
Coda.  When  abbreviation  occurs  in  a  ternary  form,  it  is 
almost  entirely  confined  to  the  second  part  of  the  form. 

Constructive  Work 

14.   The  student  should  write  as  melodies  only,  at  first, 
regular  small  and  large  ternaries: 
I.   In  major: 

1.  Small   ternary   regular,   first  period   ending  in   the 
dominant. 

2.  Small  ternary  with  abbreviated  middle  part. 

3.  Small  ternary  with  extended  third  period. 

4.  Small  ternary  with  abbreviated  second  part,  and  ex- 
tended third  part. 

II.   In  minor: 

1.  The  first  period  ending  in  the  relative  major. 

2.  The  first  period  ending  in   the  minor  key  of   the 
dominant. 

Apply  the  same  variants  to  the  large  ternaries  in  major 
and  in  minor. 

Questions 

1.  Define  the  word  Ternary. 

2.  What  is  the  a;sthetic  purpose  of  extending  the  final 
period  ? 


33 

3-  Why  may  the  middle  portion  be  abbreviated  without 
detriment  to  the  form-balance  of  the  whole? 

4.  Why  is  quantitative  balance  necessary  in  decorative 
designs  ? 

5.  What  is  the  minor  key  of  the  dominant  of  a  com- 
position in  A  minor  —  in  B  minor  —  in  C^  minor  ? 

6.  Why  is  an  actual,  or  suggested,  change  of  key  neces- 
sary in  some  portion  of  the  ternary  form  ? 

Analysis 

15.  While  the  examples  of  the  ternary  given  in  MUSICAL 
FORM  AND  ANALYSIS  are  sufficient  to  illustrate  the  usual 
types,  the  student  would  benefit  by  examining  carefully  the 
following  from  the  Beethoven  Sonatas: 

Op.  2,  No.  I  —  Minuetto. 

Op.  2,  No.  2  —  Scherzo. 

Op.  ID,  No.  2  —  Allegretto  (following  the  first 
movement). 

Op.  ID,  No.  3  —  Minuetto. 

Op.  14,  No.  I  —  Allegretto  in  E  minor. 


34 


CHAPTER  VII 
THE  TERNARY  FORM.  —  (Continued) 

1.  The  small  ternary  is  usually  definite  in  its  adherence 
to  a  distinct  form  structure.  In  large  ternaries,  however,  it 
frequently  occurs  that  only  the  first  part  is  regularly  con- 
structed; the  second  part  is  free  in  outline,  and  the  third 
part  may  be  only  briefly  reminiscent  of  the  first  part, 

2.  An  example  of  this  freedom  of  construction  is  found 
in  the  Beethoven  Scherzo  from  the  Sonata  Op.  2,  No.  3. 
(See  MUSICAL   FORM  AND  ANALYSIS,   No.  14.) 

The  key  is  C  major. 

The  balance  of  parts  as  to  number  of  measures  is  as  fol- 
lows: 

Part  I.   Sixteen  measures  —  ending  in  G  major. 

Part  11.   Twenty-two  measures. 

Part  III.   Twenty-five  measures. 

3.  So  far  as  strict  mathematical  balance  in  number  of 
measures  is  concerned,  this  form  is  very  irregular  in  Parts  II 
and  III.  The  first  period  is  of  sixteen  measures,  and  of 
two  eight  measure  phrases.  The  phrases  are  not  mclodically 
identical.  They  are,  however,  theoretically  (rhythmically) 
so  much  alike  that  perfect  unity  is  secured  —  and  besides 
this,  there  is  a  feeling  of  progressiveness  from  the  first  to 
the  sixteenth  measure  that  brings  in  the  Close  in  G  major 
with  a  pronounced  effect  of  climax. 

4.  Part  II,  which  should,  again,  be  a  sixteen  measure 
period  of  two  eight  measure  phrases,  presents  no  such  struc- 
ture. Confining  itself  to  the  motive  of  the  first  period,  it 
proceeds  without  any  suggestion  of  pause  to  measure  twenty- 


35 

eight;  from  which  point  it  continues  with  a.  forte  alternation 
of  two  groups,  each  one  measure  long,  to  measure  thirty-six; 
from  which  point,  by  a  skillful  use  of  the  motive  of  the  first 
measure,  it  merges  with  Part  III. 

5.  Part  III  opens  with  a  regularly  constructed  phrase  of 
eight  measures,  which  ends  this  time  on  the  tonic  of  C 
major  (compare  this  ending  with  that  of  the  original  first 
phrase).  Then  a  second  phrase  of  eight  measures  follows 
(again  totally  unlike  the  corresponding  phrase  of  the  first 
period),  and  concludes  on  the  C  major  tonic.  From  this 
point  to  the  end,  an  extension  (Coda  group)  brings  the 
work  to  a  convincing  conclusion  in  C  major. 

6.  Despite  its  apparent  irregularity  as  to  quantitative 
structure,  this  Scherzo  is  one  of  the  best  illustrations  of  a 
beautifully  balanced  ternary.  There  is  an  astonishingly 
continuous  unity  in  the  moti\-e  structure.  The  lengthen- 
ing of  the  second  and  third  parts  is  immediately  perceived 
to  be  necessary  to  the  satisfactory  reaching  of  the  cUmax 
points;  and  the  return  of  the  first  period  as  third  period  is 
sufficiently  exact  to  carry  the  mind  back  to  the  beginning, 
which  is  one  of  the  characteristic  purposes  of  this  form. 

7.  Careful  study  of  this  Scherzo  will  convince  the  student 
that  the  literalncss  of  measure  balance  is  of  the  least  im- 
portance in  form  building,  but  that  motive  unity  and  the- 
matic balance  arc  of  i)rime  imjwrtance. 

8.  Occasionally  we  find  types  of  the  Ternary  that  arc 
miniatures.  Two  comp()sitit)ns  in  this  form  will  be  foimd 
in  MUSICAL  FORM  AND  ANALYSIS  (Xos.  15  and  lO). 
The  first  entitled  Melody  has  this  mensural  proportion: 

Part  1.    L'our  measures. 

Part  II.    Two  measures. 

Part  III.    (  I  )    Four  measures. 


36 

This  form  balance  is  just  as  perfect  as  if  it  involved  twice 
or  four  times  as  many  measures;  for  the  first  period  (2  +  2) 
returns  to  complete  the  ternary  balance  after  measures  five 
and  six  have  been  heard. 

9.  The  student  must  be  careful  to  detect  certain  apparent 
forms  of  period  balance  that  appeal  only  to  the  eye.  Some- 
times the  engraver  will,  to  fill  a  page,  engrave  a  period,  or 
portion  of  a  form  twice.  The  rule  to  keep  before  us  is: 
Literal  repeats,  without  intervening  new  matter,  are  equiva- 
lent to  the  sign  :|| 

10.  The  second  example,  Schumann  Op.  68,  No.  19, 
should  be  carefully  analyzed  and  compared  with  MUSICAL 
FORM    AND    ANALYSIS,   No.  16. 

11.  When  we  compare  a  miniature  ternary  of  four  plus 
two  plus  four  with  the  Beethoven  example  of  sixteen  plus 
twenty-two  plus  twenty-five,  we  can  appreciate  how  various 
may  be  the  arrangement  of  parts  as  to  number  of  measures. 
But  we  also  see  the  identity  that  is  at  the  basis  of  even  so 
widely  diversified  types:  namely,  the  return  of  the  entire 
first  part  as  third  part.  A  very  small  design  may  present 
this  feature  quite  as  well  as  a  very  large  one.  The  essential 
factor  is  that  the  mind  of  the  listener  shall  be  taken  back 
to  the  impression  of  the  opening  period.  In  decorati\'e  de- 
signs (wall  papers,  etc.)  the  rej)eat  is  always  literal  because 
the  eye  demands  it;  in  music,  it  is  either  literal  or  sug- 
gestive, because  the  ear  is  satisfied  with  either. 


37 


CHAPTER   VIII 
THE   COMPOUND   FORMS 

1.  The  simple  song  forms  (Binary  and  Ternary)  are  fre- 
quently compounded.  A  familiar  use  of  this  is  found  in 
the  Minuetto  and  Trio,  the  Scherzo  and  Trio,  and  like  move- 
ments of  the  Sonata,  as  well  as  in  independent  forms. 

2.  These  compound  forms  are  ternary,  taken  as  a  whole. 
This  fact  is  illustrated  in  the  sketch  that  follows: 

Minuetto  Trio  Minuetto 

Part  I  Part  II  Part  I       Part  I  Part  II    [     Part  I  Part  II  Part  I    || 
A  simple  Ternary        A  simple  Binary  i        A  simple  Ternary        | 


Part  I  Part  II        Part  III  (or  I) repeated  D.C. 

3.  In  this  instance,  two  independent  forms  are  present, 
but  when  ])layed  as  directed  by  the  D.C.  mark,  the  first 
form  is  repeated  and  the  effect  becomes  that  of  three  forms. 
The  fact  that  Nos.  One  and  Three  are  alike,  and  that  they 
are  separated  by  the  j^resence  of  the  second,  or  middle  form, 
produces  the  Ternary,  or  three-part  structure. 

4.  The  student  should  examine  all  the  Minuetto  and 
Trio  movements  (or  their  e([ui\alents)  in  the  Sonatas  of 
lieethoven,  to  gain  a  clear  idea  of  the  total  effect  of  the 
com|)ound  form.  Freciuently.  after  the  rejjeat  of  the  first 
form,  for  example  the  Minuetto,  a  free  Coda  is  added  to 
rtnnid  out  the  conclusion  and  to  pre\ent  the  identical  etlect 
in  concKision  that  has  already  been  usL'd.  In  this  case,  the 
se((Ui'nct'  of  the  parts  becomes,  tor  example: 

Minuetto  Trio  Minuetto  (reijeated)  Coda 


38 

5.  The  presence  of  the  Coda  does  not  add  a  fourth  in- 
dependent part,  but  merely  prolongs,  or  amplifies,  the  move- 
ment of  which  it  forms  an  integral  portion. 

6.  At  this  point,  the  natural  growth  of  the  forms  may  be 
reviewed.  Beginning  with  the  Phrase,  we  have,  so  far  as 
practical  music  is  concerned,  an  incomplete  structure. 

7.  By  the  unison  of  two,  sometimes  of  three,  phrases,  the 
Period  is  produced.  This  constitutes  in  many  folk  songs, 
the  complete  form. 

8.  The  Period  (like  the  Phrase)  constitutes  the  next  higher 
form  by  groupings  of  twos  or  of  threes. 

a.  The  two  period  group  results  in  the  Binary  form. 

b.  The  three  period  group,  in  the  Ternary. 

9.  The  binary  and  ternary  forms  are  called  the  simple 
song  forms.  They,  in  turn,  may  be  combined  again  to 
produce  the  compound  form,  and  these  combinations  are 
possible: 

I  II  III  (I) 

1.  Ternary  Ternary  Ternary 

2.  Ternary  Binary  Ternary 

3.  Binary  Binary  Binary 

4.  Binary  Ternary  Binary 

10.  Four  of  these  forms,  the  Period  (or  Unitary  Form), 
the  Binary,  the  Ternary,  and  the  Compound  Ternary  are 
found  as  complete  and  independent  pieces.  But  some  of 
these  have  other  uses,  as  we  shall  see,  later.  Thus,  in  the 
Rondo,  any  form,  except  a  compound  ternary,  may  appear 
as  an  independent  subject.  In  the  Sonata,  the  large  phrase 
and  i)eriod  forms  are  used  as  subjects  and  are  joined  with 
episodical  matter.  In  certain  other  forms,  for  examjile,  a 
set  of  waltzes,  each  independent  number  is  a  song  form,  and 


39 

the  group  may  take  on  the  unity  of  a  higher  (compound) 
form,  or  the  separate  numbers  may  follow  without  further 
inherent  relationship. 

11.  An  illustration  of  the  Compound  Ternary  will  be 
found  in  the  MUSICAL  FORM  AND  ANALYSIS,  No.  17. 
This  is  taken  from  the  Mozart  Sonata  in  E  fiat,  and  con- 
sists of  a  Minuetto  I  and  Minuetto  II  with  the  repeat  of 
Minuetto  I  as  third  part. 

12.  Analyze  the  first  form  independently,  then  the  second. 
Note  the  irregularity  in  structure  as  to  the  number  of  meas- 
ures in  each  part,  but  also  note  the  perfect  ternary  balance 
when  the  entire  work  is  performed. 

Questions 

1.  In  the  Minuetto  I,  how  many  measures  in  the  first 
period  ? 

2.  Is  this  literally  repeated,  as  second  period? 

3.  What  is  the  length  of  the  second  part? 

4.  Is  the  motive  structure  of  the  second  part  of  new  or  of 
old  material  ? 

5.  Minuetto  II,  first  period:  Is  this  a  small  or  a  large 
period?     Regular  or  irregular? 

6.  Compare  it  with  the  third  period,  stating  all  points  of 
similarity  and  of  dissimilarity. 

7.  Middle  part  (or  period):  Is  it  a  period?  What  is  the 
length? 

Process  of  Analysis 

13.  Projicrly  to  carry  out  to  tlie  full  the  analysis  of  a 
musical  C()ni])()sili()n  llic  student  sliould  he  able  to  determine 
tlie  form  hy  disroNcring  tlu'  rt'lationslu[)  of  periods  and  of 


40 

their  component  phrases.  But  beyond  this  there  should  be 
included  in  all  adequate  musical  analysis  a  careful  study  of 
the  way  in  which  the  composer  carries  forward  the  significant 
motives  introduced  into  the  initial  period ;  how  these  motives 
are  varied;  how  they  are  given  emphasis  as  the  movement 
proceeds  by  union  with  other,  primarily  entirely  new,  motives. 

14.  All  caesural  resting  points  and  all  cadences  should 
be  marked.  And  beyond  this,  the  modulatory  or  non- 
modulatory  effect  of  every  foreign  tone  should  be  fully 
determined.  In  the  works  already  referred  to,  as  well  as 
those  presented  in  MUSICAL  FORM  AND  ANALYSIS,  it 
will  be  found  that  the  modulatory  plan  is  invariably  natural 
and  simple.  For  this  reason  the  works  of  the  great  mas- 
ters of  the  Classic  and  Romantic  schools  are  ideal  material 
for  the  beginning  of  the  study  of  music  form. 

15.  The  teacher  should  make  it  a  part  of  every  instru- 
mental or  vocal  lesson  given  to  indicate  clearly  to  a  pupil  the 
exact  form  outline  of  every  piece  of  music  studied.  It  is 
even  advisable  to  draw  in  simple  lines  a  sketch  of  it.  This 
impresses  the  relation  and  sequence  of  the  parts  upon  the 
mind,  and  is  the  basis  of  a  cultivated  musical  memory.  It 
serves  to  impress  the  pupil  with  the  fact  that  music  is  an 
orderly  presentation  of  ideas,  definitely  expressed,  and 
definitely  interrelated. 

16.  Many  a  struggle  with  music,  in  the  first  year  or  two 
of  piano  study  particularly,  can  be  lightened  or  avoided  by 
the  help  that  the  knowledge  of  Form  on  the  teacher's  part 
will  afford.  The  careful  teacher  will  never  attempt  to  teach 
a  composition,  however  sim])le,  without  having  first  sub- 
jected it  to  a  thorough  analysis  on  the  basis  of  its  formal, 
harmonic  and  rhythmic  structure.     So  much  is  revealed  by 


4» 

this  comparatively  simple  method  that  it  saves  to  the  learner 
a  great  amount  of  struggle,  confusion  and  misunderstanding 
that  are  easily  cleared  up,  to  the  immense  simplification  of 
the  whole  matter. 


42 


CHAPTER  IX 
REVIEW  OF  THE  PRIMARY  OR  SONG  FORMS 

1.  The  following  list  of  questions  may  serve  as  a  general 
review  of  the  forms  thus  far  studied.  Most  of  the  questions 
have  been  given  in  substance,  hitherto;  but  their  purpose 
here  is  to  servx  as  a  test  without  reference  to  the  preceding 
text. 

2.  WMle  such  questions  may  be  answered  orally,  much 
more  satisfactory  results  will  be  obtained  if  they  are  care- 
fully written  out. 

1.  What  is  a  unitar>'  form?     Mention  one  example. 

2.  What  is  the  purjDose  of  the  Coda,  in  the  compound 
ternary? 

3.  What  is  the  aesthetic  value  of  the  extension  or  the 
abbreviation  of  a  part  of  a  primary  form  ? 

4.  Why  are  these  devices  rarely  employed  in  decorative 
designs  ? 

5.  Distinguish  between  an  eight  measure  period  and  an 
eight  measure  phrase. 

6.  What  phrases  may  be  substantially  the  same  in  a 
binary? 

What  is  the  difference  between  a  repeated  period  and  a 
binary? 

8.  Define  the  terms  caesura  and  cadence.  How  do  they 
differ? 

9.  State  the  various  de\ices  of  motive  variation. 

10.  What  relation  is  there  between  phrase  length  and 
tempo  ? 


43 

11.  Why  is  the  ternary  structure  more  common  than  the 
binary?  MUSICAL  FORM  AND  ANALYSIS  No.  i8.  An- 
dante in  B  minor,  by  Ludwig  Schytte. 

12.  What  is  the  form  of  this  composition? 

13.  Compare  measures  one  to  eight  with  measvu*es  seven- 
teen to  twenty-four. 

14.  Why  do  the  Cadence  chords  fall  upon  the  third  beat 
of  the  measure? 

15.  What  is  the  name  of  the  chord  in  measure  fifteen? 

16.  On  what  beat  is  the  cadence  in  measure  sixteen? 

17.  Why  were  measures  one  and  two  not  made  identical? 

18.  Is  any  portion  of  the  left  hand  part  strictly  melodic? 

19.  Does  a  modulation  occur  in  this  composition  ? 

20.  What  keys  are  most  naturally  entered  from  B  minor? 

21.  Write  the  Half  cadence  in  this  key. 

22.  Write  the  Dominant  Seventh  Chord  of  this  key. 

23.  What  other  key  has  the  same  dominant  seventh? 

24.  What  name  is  applied  to  the  form  of  grace  note 
emiiloycd  here? 

25.  Name  the  following  cadences,  stating  whether  the 
form  be  perfect  or  imjierfect. 


44 


CHAPTER  X 
THE   SONATINE  —  FIRST   MOVEMENT 

1.  The  word  Sonatine  is  the  diminutive  of  Sonata,  a 
sounding  piece,  as  opposed  to  Cantata,  or  a  singmg  piece. 
This  form,  perfected  by  the  masters  of  the  Classical  School, 
and  brought  to  its  highest  development  by  Beethoven, 
consists  of  two  subjects  so  combined  with  episodical  matter 
as  to  afford  a  definite  and  systematic  succession  of  parts  that 
afford  thematic  as  well  as  rhythmic  contrast. 

2.  But  beyond  this  systematic  structure  by  smaller  parts, 
the  Sonata,  and  Sonatine  first  movement  is  always  a  Ternary'. 
On  examining  the  shorter  type  of  Sonatine  in  MUSICAL 
FORM  AND  ANALYSIS  No.  19  (Sonatine  in  D  major,  by 
Ludwig  Schytte),  it  will  be  noted  that  a  double  bar  is  used 
requiring  a  repeat  of  the  first  portion  of  the  form.  Follow- 
ing this  double  bar  we  fmd  new  material,  which  leads 
generally  to  the  rei)eat  of  the  original  theme  in  D  major 
and  of  all  that  followed  it  (to  the  first  double  bar). 

We  can  then  roughly  subdivide  the  whole  movement  into 
three  parts: 

I.    Twenty-eight  measures  to  the  double  bar. 
11.   Twenty- four  measures. 

III.  Thirty-one  measures  (or  Part  I  of  twenty-eight  ])lus 
three  measures). 

3.  Of  these  three  subdixisions.  Parts  I  and  III  have  the 
same  relation,  one  to  the  other,  that  we  find  between  the  first 
and  third  periods  of  tlie  Ternar}-  form.  Hence,  the  first 
fact   to  be  grasped   about   the   Sonatine   (and   Sonata)   hrst 


45 


Part  I. 


Part  II. 


movement,  is  that  its  structure  is  three-part,  or  Ternary. 

4.  It  now  becomes  necessary  to  indicate  the  subdivisions 
of  these  three  parts.  As  a  rule,  they  follow  this  order,  in 
the  major  keys: 

a.  First  subject  (a  phrase  or  period)  Tonic  key. 

b.  Intermediate  group  (or  episode)  estabUsh- 
ing  the  key  of  the  dominant. 

c.  Second  subject  (a  phrase  or  period)  Dom- 
inant key. 

d.  Closing  group  (or  episode)  concluding  at 
the  first  double  l)ar  in  the  Dominant. 

Development.  Here  any  thematic  material 
from  Part  I  may  be  used  and  combined,  if 
desirable,  with  new  material. 

This  part  is  not  regularly  subdivided,  for  which 
reason  it  is  called  the  "working-out"  part, 
s(Miietimes  the  free  fantasia  part.  At  its 
conclusion  it  merges  naturally  into  the  return 
of  Part  I. 

a.  First  subject  —  as  it  originally  appeared. 

b.  Intermediate  group  (or  episode).  This 
time,  however,  in  the  Tonic  key. 

c.  Second  subject  —  as  before;  but  in  the 
Tonic. 

(1.  Closing  grouj),  in  the  Tonic,  often  pro- 
longed by  a  few  (or  by  many)  measures  of 
(\Hla. 

5.  This  seciuence  of  parts  and  their  subdivisions  apjilied 
to  Selection  Xo.  10  in  MUSICAL  FORM  AND  ANALYSIS, 
will  ac([uaint  the  student  with  the  nature  of  the  Sonatine 
form. 


Part  III. 


46 

Part  I. 

a.  First  subject  in  D  major,  an  eight  measure  period 
ending  in  the  key  of  the  Tonic. 

b.  Intermediate  group,  eight  measures  not  so  strictly 
melodically  as  rhythmically  unified,  passing  from  D  major 
into  A  major. 

c.  Second  subject,  in  A  major,  an  eight  measure  period, 
concluding  in  measure  twenty- four  (in  A  major). 

d.  Closing  group,  four  measures  (to  the  double  bar) 
affirming  the  conclusion  or  cadence  in  the  dominant  key. 

Part  II.     Development: 

This  opens  with  the  same  rhythm  (measures  one  to  four), 
as  we  find  in  the  second  subject.  It  is  freely  modulatory,  a 
distinctive  trait  always  of  the  Development  portion  of  a 
Sonata  or  Sonatine. 

Measures  five  to  eight:  Based  on  the  rhythm  of  the  first 
measure  of  the  first  subject. 

Measures  nine  to  twelve  )       Based  on  the  rhythm  of 

Measures  thirteen  to  sixteen,  j  the  closing  group. 

Measures  seventeen  to  twenty- four:  The  first  subject 
motive,  serving  to  recall  that  subject  and  to  stimulate 
interest  and  expectation,  for  its  return. 

Part  III.  (The  student  should  compare  this,  measure  for 
measure,  with  Part  I). 

a.  First  subject,  as  before,  in  D  major. 

b.  Intermediate  group,  eight  measures,  as  before,  but 
with  the  difference  in  the  harmonic  treatment,  in  order  to 
retain  the  atmosphere  of  the  Tonic  key,  D  major. 

c.  Second  subject,  as  before,  eight  measures;  but  in  D 
major. 

d.  Closing  group,  as  before  (but  in  the  Tonic),  and  ex- 


47 

tended  by  three  measures  to  produce  a  more  convincing  or 
satisfactory  conclusion  at  the  final  double  bar. 

6.  In  the  analysis  of  such  movements  as  this,  the  student 
should  take  note  not  alone  of  the  form,  but  of  the  harmonic 
progressions  as  well.  Hence,  in  the  following  questions,  the 
latter  requisite  is  included. 

Questions 

1.  What  is  the  key  of  the  entire  movement? 

2.  What  is  the  form  of  the  first  subject?  Is  it  regular  as 
to  phrases  ? 

3.  Analyze  similarly  the  second  subject.  What  cadence 
is  found  at  the  end  of  its  first  phrase? 

4.  What  is  the  motive  content  of  the  closing  group? 
(Xote  how  motive-repetition,  etc.,  is  employed.) 

5.  (Development,  Part  II.)  Determine  the  harmonic 
content  of  each  measure. 

6.  What  keys  are  nearly  related  to  D  major  and  to  A 
major?  (Note  how  many  of  them  are  employed  in  the 
development  portion.) 

7.  How  is  the  Second  subject  gi\en  variety  in  Part  III,  as 
compared  with  Part  I  ? 

8.  Define  the  words  Sonata,  Sonatine,  Cantata,  Episode. 
7.    While  the  regularly  constructed  Sonatine  follows  the 

aliove  outline  as  to  structure,  it  is  essential  to  a  full  com- 
prehension of  the  form  that  the  student  analy/.e  as  many 
types  as  he  can.  The  following  are  to  be  recommended 
(first  moNi-mcnt  only). 

Clementi:   Sonatine,  D  major. 

Beetho\en:   Oj).  4(),  CI  major. 

Kuhlau:   Op.  20,  Xo.  i,  C  major. 

Gurlitt:   ()}).  iSS,  Xo.  i,  C  major. 


48 


CHAPTER  XI 
THE  SONATINE  FIRST  MOVEMENT,  IN  MINOR 

1.  In  number  and  sequence  of  parts  the  Sonata  form  in 
minor  is  like  that  in  major.  The  key  relation,  however,  is 
different.  In  the  regularly  constructed  form  in  the  minor 
mode  this  order  is  observed: 

a.  First  subject,  in  the  Tonic. 

b.  Intermediate  group  establishing  the  relative 
Part  I      ^  major  key. 

c.  Second  subject,  in  the  relative  major. 

d.  Closing  group,  in  the  relative  major. 
Part  II         Development  portion. 

a.  First  subject,  in  the  Tonic. 

b.  Intermediate    group,    permitting    the    en- 
Part  III    ^  trance  of  the  Second  Subject. 

c.  Second  subject,  in  the  Tonic. 

d.  Closing  group,  in  the  Tonic. 

2.  The  student  must  remember  that  the  composer  is  at 
liberty  to  change,  and  often  does  change,  any  set  outline  of 
this  kind.  Hence,  both  in  the  major  and  minor  mode  we 
sometimes  find  the  form  we  are  studying  departing  (and  most 
artistically  and  with  satisfaction  to  the  listener)  from  the 
recognized  order.  Thus,  in  the  C  major  Sonata  of  Mozart, 
the  first  subject  returns  not  in  C  major  as  we  should  expect, 
but  in  F  major.  Again,  in  Part  IH  of  another  Sonata, 
Mozart  introduces  first  the  secottd  subject,  then  the  first. 
Sometimes  in  the  minor  mode  the  second  subject  will  enter 
in  the  major  or  minor  key  of  the  dominant,  instead  of  in  the 
relative  major. 


49 

3-  Many  so-called  Sonatincs  are  not,  so  far  as  the  first 
movement  is  concerned,  Sonatines  in  any  sense,  but  are  a 
union  of  two  or  three  short  movements  (Primary  forms). 

Analysis 

See  MUSICAL  FORM  AND  ANALYSIS,  Selection  No.  20 
(Sonata,  really  a  Sonatine,  in  G  minor,  Op.  49,  No.  i,  Bee- 
thoven). 

The  first  subject  is  a  quiet  contemplative  melody  in  the 
key  of  the  tonic  (G  minor),  and  is  an  eight  measure  phrase, 
ending  on  the  chord  of  the  dominant,  D  major. 

The  Intermediate  group  opens  with  a  repeat  of  the  initial 
measures  of  the  first  subject,  but  is  deflected  into  B  flat 
major  (the  relative  major  of  the  tonic),  and  rests  (left  hand) 
upon  the  dominant,  in  the  fifteenth  measure. 

Then  the  second  subject  enters  in  B  flat,  and  continues  as 
an  extended  phrase  for  fourteen  measures. 

The  closing  group  —  on  the  initial  motive  of  the  second 
subject  —  is  four  measures  long  and  concludes,  at  the  double 
bar,  in  B  flat  major. 

The  Development  portion  is  thirty  measures  long,  and  is 
made  up  largely  of  thematic  material  from  the  second  sub- 
ject.    The  predominant  keys  are  E  flat  and  G  minor. 

The  first  subject  then  returns  again  as  an  eight  measure 
phrase. 

Note  in  the  Intermediate  group  the  use  of  the  first  subject 
theme  in  the  left  hand. 

The  second  sul)jecl  is  considerably  lengthened  —  in  G 
minor  —  extending  to  eighteen  measures. 

The  closing  group  is  thirteen  measures  as  against  four  in 
Part  I,  thus  ser\ing  as  closing  group  and  Coda  (G  major) 
combined. 


5° 

The  specified  tempo  of  this  movement  (^=  104)  suggests 
its  interpretation  as  a  3  meter,  rather  than  a  4. 


Questions 

1 .  Why  is  the  first  subject  in  phrase  form  ? 

2.  At  what  measure  in  the  (first)  Intermediate  group  is 
the  key  of  B  flat  major  established? 

3.  What  form  of  Cadence  precedes  the  entrance  of  the 
second  subject  in  B  flat? 

4.  The  second  subject  is  divisible  into  two  groups,  nine 
plus  five:  In  what  relation  do  the  five  measures  stand  to  the 
nine? 

5.  In  what  form  are  the  first  four  measures  of  the  Develop- 
ment? 

6.  In  what  relation  does  this  key  stand  to  G  minor,  and  to 
B  flat  major? 

7.  Through  what  key  is  the  second  subject  theme  in 
octaves  (right  hand)  reached? 

8.  Compare  the  two  Intermediate  groups;  measure  for 
measure:  In  what  particulars  are  they  alike?  Wherein  do 
they  differ? 

g.  Likewise  compare  the  two  second  subjects,  measure 
for  measure,  and  determine  the  purpose  of  the  extension  in 
the  second  instance. 

10.  What  purpose  is  achieved  by  the  conclusion  in  G 
major  ? 

4.  Should  the  amount  of  work  involved  in  answering 
questions  and  making  measure  for  measure  comjiarisons 
impress  the  student  as  considerable,  let  him  rememl)er  the 
old  precept  about  there  being  no  royal  road  to  learning.     Or, 


51 

rather,  let  him  believe  that  the  only  royal  road  is  that  of 
exact  and  faithful  work.  All  that  is  included  in  music 
appreciation,  musical  understanding,  and  music  memory  is 
so  much  augmented  by  the  knowledge  of  musical  form  that 
it  is  worth  infinitely  more  than  it  costs  in  labor  required  or 
applied.  Further,  the  student  should  be  willing  of  his  own 
accord  to  analyze  as  much  music  as  he  can  find,  and  con- 
stantly to  apply  the  art  of  analysis  to  the  music  he  is  studying. 
It  is  only  from  the  experience  so  gained  that  a  knowledge  of 
the  various  types  can  be  secured  and  an  appreciation  gained 
of  the  aesthetic  laws  that  permit  a  skilled  composer  to  depart 
from  any  set  rules  of  procedure. 

5.  While  we  have  selected  the  G  minor  Sonata  of  Beetho- 
ven as  a  Sonatine  type  it  should  be  said  that,  as  a  rule,  the 
Sonatine  is  not  only  a  short  movement  (shorter  than  the 
corresponding  movement  of  a  Sonata),  but  it  is  one  that  in 
content  is  exceedingly  simple  and  easy  to  grasp.  The  Sona- 
tines  of  dementi,  Kuhlau  and  others,  arc  of  this  simple  style. 
This  Beethoven  movement  is  on  a  plane  above  them,  for  its 
inner  content  is  one  of  contrast  between  a  rellective  mood 
(first  subject)  and  a  more  joyous  one  (second  subject).  It 
requires  more  than  a  merely  technical  proficiency  of  the  hand 
to  give  it  the  proper  interpretation. 

6.  The  slow  movement  of  the  Sonata  in  G,  by  Mozart, 
(LitollT),  Sonata  No.  IV,  is  in  Sonata  form  and  is  shorter 
than  many  Sonatine  movements.  But  its  dignified,  elevated 
and  sustained  character  stamps  it  as  a  Sonata. 

7.  The  student  will  have  learned  from  the  preceding 
analyses  that  in  every  regular  forni  of  the  Sonata  or  Sonatine 
t}7)e,  there  are  nine  (sometimes  ten)  divisions.  To  memorize 
tills  list  of  parts  is  an  aid  to  the  memorizing  of  this  form. 
They  are: 


52 


First  subject. 
Intermediate  Group 
Second  subject 
Closing  Group 
Development 
First  subject  ^ 

Intermediate  Group    I 


Parti 


Part  II 


Part  III 


8.  Second  subject 

9.  Closing  Group 
10.    Coda  (occassionally) 

8.  With  this  outline  in  mind,  the  memory  has  to  deal  not 
with  one  long  and  involved  composition,  but  with  ten  dis- 
tinct and  closely  related  portions  of  one  concrete  form. 


S3 


CHAPTER  XII 
THE   SONATA 

1.  The  difTerence  between  the  Sonata  and  the  Sonatine 
has  already  been  referred  to:  it  is  not  alone  one  of  length, 
but  of  content.  The  Sonata  is  of  deeper  emotional  nature, 
of  more  sustained  and  impressive  character. 

2.  As  the  proportions  of  each  part  of  this  form  increases 
the  movement  becomes  longer  and  the  various  parts  become 
more  highly  organized.  They  may  be  as  comparatively 
simple  as  the  F  minor  Sonata,  Op.  2,  No.  i,  by  Beethoven, 
or  as  complex,  ai)parently,  as  the  same  composer's  later 
Sonatas.  But  beneath  them  all,  simple  or  ai)])arently  conv 
plex,  the  same  order  of  parts  will  be  found,  furnishing  not  a 
defmite  i)attern  to  be  followed  sla\ishly,  but  providing  an 
actual  law  of  gnncth. 

3.  As  a  tyi)e  of  the  Sonata  form,  at  once  short  and  yet 
sustained  in  style  and  expression,  we  select  the  tenth  Mozart 
Sonata,  First  moxement,  adagio,  in  K  Hat  (MUSICAL  FORM 
AND    ANALYSIS,    Xo.  21). 

Part  1,  to  the  double  bar  is  fifteen  measures  only. 
I'arts  II  and  III  combined,  consist  of  twenty-one  measures, 
including  tlie  Coda. 

4.  This  form,  then,  is  shorter  than  any  of  the  Sonatines 
\vf  ha\e  examined.  Close  analysis  of  it  will  reveal  some  of 
the  n\any  kinds  oi  liberties  that  the  great  composers  take 
with  a  definite  form  to  gi\e  it  added  charm  and  beauty. 

5.  .Measures  one  \o  eight,  in(!usi\e,  are  (.li\'isible  into  two 
groups  of  four  measures  each,  and  con>titute  the  I'^irst  subject 


54 


and  the  Intermediate  group;  ending,  in  the  eighth  measure, 
upon  the  chord  of  F  major,  dominant  of  the  Dominant  key, 
B  flat. 

6.  The  Second  subject,  in  B  flat  major,  is  a  melody  (right 
hand)  accompanied  by  simple  chord  groups  in  uniform 
design,  more  or  less,  in  the  left  hand.  This  melody  termi- 
nates in  its  fifth  measure,  but  through  a  deceptive  cadence 
which  requires  the  continuance  to  a  total  length  of  seven 
measures. 

7.  The  final  measure  (first  double  bar)  serves  these  pur- 
poses: I.  It  makes  the  ending  of  the  second  subject  (a).  2. 
It  contains  the  closing  group  (b),  and  3,  it  provides  a  melodic 
conjunctive  group  leading  into  the  Development  (c). 


^.^^^Ei^^^^^i 


-^'  -0- 


sTf^ 


I 


r 

8.  The  opening  measure  of  the  Development  recalls  the 
first  subject,  but  is  in  no  sense  identical  with  it.  .\fter  six 
measures  we  find  that  the  passage  beginning  with  the  (ori- 
ginal) fifth  measure  enters,  and,  proceeding  through  five 
measures,  concludes  upon  the  chord  of  B  flat,  ])reparatory  to 
the  entrance  of  the  second  subject. 

9.  We  have,  then,  a  type  of  Sonata  movement,  in  which 
the  first  subject  is  omitted  in  Part  III. 

ID.  The  second  subject  is  again  seven  measures  long, 
ending  e.xactly  as  before  (save  as  to  key). 


55 

11.  The  Coda,  opens  with  a  measure  that  suggests  the 
composer's  desire  to  make  amends  for  omitting  the  first 
subject. 

12.  We  have,  in  this  movement,  an  irregular  form,  and 
yet  one  that  is  so  beautifully  balanced,  one  that  so  admirably 
obeys  the  law  of  growth  inherent  in  itself  that  it  is  entirely 
artistic  and  satisfying  to  the  most  aesthetic  sense. 

13.  In  the  matter  of  this  movement,  and  as  an  aid  to  the 
memory,  the  student  should  arrange  the  parts  in  this  order: 

1.  First  subject  and  Intermediate  group  combined. 

2.  Second  subject. 

3.  One  measure,  as  closing  group,  leading  to  the 

4.  Development. 

5.  Then  the  Intermediate  group. 

6.  Second  subject  in  E  Hat,  concluding  as  before,  and 

finally, 

7.  The  Coda  (reminiscent  of  the  First  subject). 

14.  Even  the  portions,  or  subdivisions,  of  the  movement 
as  listed  here,  are  so  independent  and  artistic,  yet  so  unified 
and  closely  related  that  one  can  enjoy  them  as  separate 
figures  in  a  group-picture  —  but  taken  together,  they  con- 
st itute  a  perfectly  unified  assemblage  of  parts. 

15.  The  student  is  urged  to  examine  each  measure  of  this 
movement  for  its  artistic  structure,  and  particularly  to  fix 
in  the  memory  all  Cadences,  as  being  the  natural  points  of 
punctuation  of  the  composition. 


56 


CHAPTER  XIII 
THE   SONATA  AS  A  WHOLE 

1.  We  have  seen  that  the  Sonata  form  applies  to  the 
first  movement.  But  its  use  is  not  wholly  confined,  even 
in  the  Sonata,  to  this' movement. 

2.  The  composers  of  the  Classical  school  constructed  the 
Sonata,  either  as  a  three-movement  or  a  four-movement 
group.  In  the  former  case,  the  order  is  an  Allegro,  in  Sonata 
form;  an  Andante,  or  its  equivalent,  and  a  Finale,  often  a 
Rondo.  In  the  four-movement  Sonata  there  are  found 
before  the  Finale,  a  Minuetto  and  Trio,  or  Scherzo  and  Trio; 
or  their  equivalents. 

3.  In  the  Mozart  Sonatas  the  three  movement  group  is 
common;  in  the  Beethoven  Sonatas,  the  four  movement 
group  is  frequent.  Occasionally  the  Sonata  is  found  to  be 
a  collection  of  pieces  quite  as  diversified  as  the  Suite.  In  the 
Mozart  A  major  Sonata,  a  Theme  and  \'ariations  take  the 
place  of  the  regular  Allegro.  This  is  the  case  also  in  the 
Beethoven  Sonata,  Op.  26.  In  the  D  major  Sonata  Mozart 
introduces  a  Theme  and  Variations  as  linal  movement. 
Sometimes  the  first  movement  is  preceded  by  a  slow  intro- 
duction (Beethoven  Op.  13). 

4.  The  four  movement  Sonata,  often,  in  fact,  generally, 
presents  these  distinct  types  of  form: 

1.  The  Sonata  Allegro  as  first  movement. 

2.  A  Rondo  as  second  movement. 

3.  A  compound  Ternary  as  third  movement. 

4.  A  Lower  or  Higher  Rt)n(]o  as  ti)urth  movement. 


57 

5.  While  a  Sonata  is  usually  distinguished,  as  a  whole,  by 
key,  as,  for  example,  the  F  minor  Op.  2,  No.  i,  by  Beethoven, 
the  movements  do  not,  as  is  the  case  in  the  Suite,  keep  to  the 
one  key  throughout.  For  instance,  in  the  example  just 
referred  to,  the  key  sequence  is  thus  (i.e.,  Beethoven,  Op.  2, 

No.  i): 

First  movement,  F  minor. 
Second  movement,  F  major. 
Third  movement,  F  minor  and  major. 
Fourth  movement,  F  minor. 

6.  In  the  same  composer's  Op.  2,  No.  2,  the  key  is  A 
major,  with  this  variation: 

First  movement,  A  major. 

Second  movement,  D  major. 

Third  movenient,  A  major  and  A  minor. 

Fourth  movement,  A  major. 

7.  In  succeeding  chapters  the  Lower  Rondo  form  will  be 
discussed;  reference  has  already  been  made  to  the  Higher 
Rondo  form.  In  the  latter  we  ha\e  j)resent  all  the  features 
of  the  Sonata,  with  one  essential  addition.  The  finale  of 
Op.  2,  No.  2  (Beethoven)  is  an  excellent  illustration.  The 
essential  addition  consists  of  a  third  subject  as  Development, 
or  as  included  in  the  Development.  This  feature  is  never 
found  in  the  Sonata  movement  jjroper  the  dexelojiment 
there  being  a  free  working  out  section  entirely  without 
tletinite  formal  outline. 

8.  Occasionally  we  find  a  form  that  is  better,  or  niore 
justly  designated  a  miniature  Sonata  rather  than  a  Soiuitine. 
Such  forms  are  Sonatines  in  length  and  ])r()portion,  but 
Sonatas  in  the  sense  of  depth  of  meaning  and  character  of 
content. 


58 

Q.  An  excellent  illustration  of  this  is  the  Andante  of  the 
Sonata  in  G  major  (Mozart),  MUSICAL  FORM  AND 
ANALYSIS,   No.  2  2. 

In  this  the  subdivisions  are  short: 

Part  I.  First  subject,  C  major  —  four  measures. 

Intermediate  group  (passing  into  G  major) 

—  four  measures. 
Second  subject,  in  G  major  —  six  measures. 
Closing  group,  in  G  major,  less  than  one 
measure. 
Part  II.         Development:  nine  measures. 
Part  III.        Is  constructed  parallel  with  Part  I,  with  a 
Coda  for  more   reposeful   and   satisfac- 
tory ending. 
10.    While  this  movement  is  written   in   4,   it  should  be 
played  at  a  tempo  that  permits  this  metronomic  division: 
J'=  104.     This  has  the  effect  of  doubling  the  number  of 
measures  (to  the  ear)  in  each  of  the  subdivisions.     In  the 
following  questions,  keep  this  meter  q  in  mind. 

Questions 

1.  What  is  the  form  of  the  first  subject? 

2.  Of  the  second  subject? 

3.  What  is  the  harmonic  basis  of  the  first  (full)  measure 
of  the  Development  ? 

4.  What  is  the  principal  source  of  the  thematic  material 
of  the  Development? 

5.  Indicate  the  dilTerence  in  the  second  aj)i">earance  of  the 
first  subject  as  compared  with  its  original  a])pearance. 

6.  Upon  what  lliematic  inalcrial  is  the  Coda  constructed? 


59 

7-  Differentiate  between  a  Sonata,  a  Sonatine,  and  a 
Miniature  Sonata. 
8.   What  is  a  Higher  Rondo  form? 

11.  Two  special  terms  are  appUed  to  the  Sonata  form. 
Part  I  consisting  as  we  have  seen  of  four  subdivisions,  is 
usually  referred  to  as  the  Exposition.  This  means  that  the 
composer  generally  "exposes"  or  sets  forth  the  principal 
thematic  material  to  be  used  throughout  the  movement. 
The  term  for  Part  II  we  have  already  used:  Development. 
This  indicates  that  a  free,  non-subjective  use  is  to  be  made 
of  themes  and  motives.  Part  III  (the  repeat  of  Part  I)  is 
called  Recapitulation,  or  a  setting  forth  "  from  the  beginning  " 
again.  The  term  Coda,  a  "tail  or  appendage,"  is  that  matter 
by  which  the  Recapitulation  is  lengthened  beyond  the 
repeat  of  the  Exposition. 

12.  As  greater  uniformity  is  now  prevalent  in  musical 
terminology,  the  student  will  find  these  terms  in  general  use, 
and  he  can,  therefore,  adopt  them  as  current  expressions. 


6o 


CHAPTER  XIV 
THE   SMALLER  TEACHING  PIECES  AND   ETUDES 

1.  Reference  has  already  been  made  to  the  value  of 
a  knowledge  of  musical  form  as  a  basis  of  musical  compre- 
hension and  as  an  aid  to  musical  memory.  As  these  benefits 
should  be  enjoyed  from  the  beginning  of  the  study,  it  is 
essential  to  apply  the  means  to  that  particular  music  with 
which  the  student  begins  and  continues  his  early  training. 

2.  Teaching  pieces  are  generally  of  the  forms  we  have 
already  discussed,  or  some  application  of  them.  The  teacher 
usually  does  little  more  than  to  indicate  the  mood  or  the 
picture  in  the  music  which  the  composer  wishes  the  young 
people  to  "see."  Pieces  without  titles  are  either  Sonatas, 
Sonatines,  Rondos,  or  dance  forms  (Minuetto,  Waltz,  March, 
Gavotte,  etc.).  The  latter  (dance  forms)  may  be  said  to  be 
sufficiently  described  in  the  word  (Gavotte,  or  March,  or 
whatever  the  form  may  be),  for  the  reason  that  they  are 
rhythmic  and  not  especially  imaginative. 

3.  Etudes  are  often  less  defmitely  formal,  because  they 
are  intended  primarily  to  develop  a  certain  hand  position  or 
rhythmical  movement.  Hence,  they  frequently  appear  to 
disregard  a  formal  plan  of  structure.  At  the  same  time,  if 
we  will  closely  scrutinize  them  it  will  be  found  that  a  more 
or  less  definite  plan  of  structure  is  present.  And  to  recognize 
this  i)lan  is  essential  to  the  ready  mastery  of  the  music  before 
we  can  concentrate  upon  the  especial  etude  feature  that  is 
the  i^urjjose  of  the  work. 

4.  In  MUSICAL  FORM  AND  ANALYSIS,  six  selections 
will  be  found  (Nos.  23  to  28).     Upon  these  the  following  (jues- 


6i 

tions  and  suggestions  are  based.  If  the  student  will  work 
them  out  carefully  he  will  find  little  trouble,  hereafter,  in 
analyzing  any  teaching  material  that  may  come  before  him. 

No.  23. 

Landler,  Op.  172,  No.  4  — Cornelius  Gurlitt. 

A  t>7)e  of  teaching  piece  of  the  best  order.  The  melody 
playing  is  confined  to  the  right  hand;  at  the  same  time,  the 
harmonic  progression  in  the  left  hand  has,  now  and  again,  a 
melodic  tendency. 

1.  The  Pause  in  the  eighth  measure,  equivalent  to  a 
Cadence,  is  original  and  unusual  in  pieces  of  this  type. 

2.  Note  the  interesting  way  in  wliich  the  Cadence  is 
expressed  in  measure  sixteen. 

3.  The  fourth  phrase  is  leased  on  the  first.  It  is  extended 
four  measures,  and  is  followed  by  a  Coda  passage  of  four 
measures. 

4.  What  is  the  form? 

5.  Is  the  form  large  or  small?     Why? 

6.  What  j)ur])ose  is  ser\ed  by  the  Coda? 

7.  Dehne  the  word  Landler. 

No.  24. 

Etude  in  A  minor  —  J.  Concone.     (Arranged  by  Thomas  Tapper.) 

1.    How  niaiu'  periods  to  the  first  double  bar? 
How  do  they  differ? 

Subdixide  measures  se\eiit('en  to  thirty-two. 
What  thenie  returns  in  measure  tliirty-three? 
What  purpose  is  fuliilknl  by  the  final  fourteen  measures? 
Of  what  form  are  the  first  forty-eight  measures? 
What  modulations  occur? 


62 

8.   What  keys  are  most  closely  related  to  A  minor? 
g.   Is  a  definite  motive-structure  maintained? 

10.  What  chord  is  formed  of  the  tones  F-A-C-D?t  in  this 
key? 

11.  What  is  the  natural  progression  of  this  chord ? 


No.  25. 
Etude  rhythmique,  Op.  56,  No.  14  —  Ferdinand  Hiller. 

Note  the  interesting  metrical  structure  of  4  and  4  . 

1.  The  subdivisions  are  three.     Of  how  many  measures 
each? 

2.  How  does  the  first  period  differ  from  the  third?     Why 
this  difference? 

3.  Does  a  modulation  occur  in  the  second  period? 

4.  What  is  the  effect  of  the  last  five  measures? 

5.  Are  the  4  measures  accented  thus  = ^  -  or  =-  -  = , 

or  both  ways? 


No.  26. 

Etude  Op.  80,  No.  14  —  A.  Marmontel. 

1.  Do  the  chromatics  in  the  first  measure  affect  the  key? 

2.  How  many  Cadence  points  occur  throughout? 

3.  What  is  the  purpose  of  the  extension  at  the  end? 

4.  Of  how  many  measures  is  this  extension  ? 

5.  What  keys  are  closely  related   to  the  Tonic  of  this 
composition  ? 

6.  Are  any  modulatory  chromatics  used  ? 


63 
No.  27. 
Wrist  Study,  Op.  170,  No.  20  —  Georg  Eggeling. 

1.  Why  is  the  rhythmic  figure  so  insistently  maintained? 

2.  What  is  the  form  as  a  whole? 

3.  What  modulations  are  brought  about? 

4.  Compare  the  first  eight  measures  with  the  concluding 
eight  measures. 

No.  28. 
Etude  Op.  90,  No.  6  —  Stephen  Heller. 

1.  What  is  the  key? 

2.  What  are  its  dominant  and  subdominant  chords? 

3.  Into  how  many  subdivisions  does  this  work  fall? 

4.  What  is  the  length  of  each  ? 

5.  What  is  their  inter-relation? 

6.  Is  the  bass  (left  hand)  melodic  at  any  point? 

7.  How  many  principal  motives  are  used? 

8.  What  chord  results  from  this  combination  of  tones: 


64 


CHAPTER    XV 
THE  RONDO    OF   ONE   SUBJECT 

1.  The  instrumental  Rondo  is  evolved  from  the  vocal 
Round,  a  short  composition  so  constructed  that  as  a  melody 
it  may  be  sung  contrapuntally  against  itself  by  a  second  (and 
third  and  fourth,  or  more)  part  entering  at  regular  intervals 
after  the  principal  voice  has  begun. 

2.  Following  is  a  Round  for  four  voices: 


THE  RIDE 


PURCEI.L 


Wti^m^ 


Fl: 


Light  -  ly       go,      my      pret    -    ty  po   -   ny,     Step-jiing 

Fare -well,  fare-  well,  gloom  -  y  win  -  ter.    Keen  winds 


O'er    the  heath     the      bees    are      hum-ming.Whis-p'ring 
Mer  -  rv    ])ranks   with    laughter        air    -    y,  Tales      of 


hark  !  the   lark's  high      car 
grass     is    green,  new    buds 


ol,  ring  -  ing.Wakes  the 
are  swell  -  ing, Trees    and 


O'er     the  moor,     a  -    cross     tlie      heath  -  cr       On       we 
O'er      the  m(K)r,      a  ■    crnss     the      lif.ith     er       ()ii        for 


65 


neat  -  ly,      fast      and    fleet  -  ly     Stop      nor     stay, 
blow  -  ing,     hail       and  snow-  ing,  Rain      and    mire. 


low      of    sum 
gob  -  lin,     elf, 


F  ^^5=F 


mercom-ing      On        the   way.    And 
and  fai    -    ry       By        the    fire  I    The 


■mm 


fl 


ech  -  oes, sweet 
birds      of    sum 


ly  sing  -  ing      Of  the  May. 

nier  tell  -  ing,    Rose         and  brier. 


geth  -  er.  Glad      and      gay. 
er,      on         to  -   geth  -  er.  Who    would    tire  ? 

3.  The  instrumental  round  or  rondo  has  not  this  canonic 
structure,  but  for  its  distinguishing  feature,  it  returns  to  its 
principal  theme,  after  the  entrance  of  episodical  matter. 
Thus,  a  Rondo  may  proceed  in  this  manner: 

I.   Theme  or  Subject. 
First  Episode. 
Return  of  the  Theme. 
Second  Episode. 
Return  of  the  Theme. 
Final  Episode  or  Closing  Group. 

4.  The  basic  idea,  then,  of  the  Rondo  is  (i)  to  establish  a 
Theme;  {2)  to  depart  from  the  theme  in  episodical  matter 
and  so  to  construct  this  tliat  the  ear  is  led  to  expect  a  return 


66 

of  the  principal  subject.  The  number  of  times  that  the 
composer  may  return  to  his  theme  through  the  stimulation  of 
interest,  depends  upon  his  skill  in  balancing  subject  against 
episode,  and  in  the  highly  attractive  character  of  the  subject 
itself. 

5.  The  Rondo  of  one  subject  (known  as  the  first  Rondo 
form)  is  progressive  from  beginning  to  end.  That  is,  it  has 
not  the  subdivision  marked  by  the  double  bar  as  we  find  it 
in  the  Sonata.  The  subject  may  be  a  large  phrase,  a  period, 
or  a  primary  form.  In  its  recurrence  the  subject  may  be 
literally  repeated,  or  it  may  be  varied  in  details,  or  it  may  be 
abbreviated.  Abbreviation  is  most  commonly  availed  of,  as 
a  variant,  in  the  last  appearance  of  the  subject  (before  the 
closing  group). 

6.  The  distinguishing  feature  of  the  episode  is  that  it  is 
not  formal;  it  does  not  take  on  any  definite  form  structure. 
The  purpose  is  merely  to  separate  the  subject  from  its  next 
appearance,  and  to  stimulate  a  desire  for  its  return.  It  is 
frequently  composed  of  thematic  matter  from  the  subject 
itself;  or,  again,  it  may  be  made  up  of  relatively  new  material. 

7.  As  a  model  in  this  form  the  student  should  examine  the 
Largo  in  D  major  from  the  Sonata,  Op.  2,  No.  2,  Beethoven, 
MUSICAL   FORM    AND    ANALYSIS,    Selection  Xo.  8. 

8.  Glancing  through  the  composition  as  a  whole,  we 
should  look  for  (i)  an  opening  theme  or  subject  in  a  definite 
form;  (2)  for  the  repetition  one  or  more  times  of  this  theme, 
and  (3)  for  the  presence  of  matter  that  is  relati\cly  unlike 
the  subject  itself,  or  e\en  thoroughly  opposed  to  it  in  melodic 
or  rhythmic  building. 

9.  Even  a  cursory  examination  shows  us  that  the  opening 
measures  announce  a  subject  that  returns  again.  The  first 
four  measures  are  a  phrase  ending  on  the  dominant,  followed 


67 

by  a  phrase  of  like  character  ending  in  the  tonic.     Hence, 
measures  one  to  eight  constitute  a  Period. 

10.  Following  the  Period  we  find  a  new  thematic  phrase  of 
four  measures,  leading  into  the  return  of  the  original  phrase. 
This  (fourth)  phrase  is  extended  to  seven  measures,  and 
closes  the  formal  structure  up  to  this  point.  Combining 
these  four  phrases,  we  find  they  follow  in  this  order: 


Phrase  A 


Phrase  B 


11.  The  form,  then,  is  a  Binary  (small)  with  extended 
final  phraze. 

12.  Following  this  binary,  we  should  expect  to  find  an 
episodical  passage,  not  in  strict  form,  leading  into  the  return 
of  the  opening  subject.  Measure  19-20  opens  in  B  minor, 
continues  for  four  measures,  and  concludes  upon  the  chord 
of  F^  minor.  The  three  following  measures  (twenty-three, 
twenty-four,  and  twenty-five)  arc  new  and  present  a  short 
(nionomclri(-)  motive  in  the  left  hand.  Measures  twenty- 
six  to  thirty-one  bring  the  passage  (nineteen  to  thirty-one) 
to  a  close  on  the  dominant  of  I)  major.  These  measures  of 
four  jjIus  two  plus  six  do  not  cumulate  into  any  definite  form, 
and  for  that  reason  they  constitute  a  passage  the  whole 
j)urpose  of  which  is  to  separate  the  first  appearance  of  the 
su])jcct  from  the  one  that  is  about  to  follow. 

13.  The  second  appearance  of  the  subject  is  in  length 
exactly  as  at  first.  A  measure  for  measure  analysis  will  show 
the  student  what  slight  \ariations  the  composer  has  made. 


68 

14.  Thus  far  the  form  is: 

First  Subject  (a  small  Binary) ; 

First  Episode; 

First  Subject  repeated. 

15.  The  seven  measures  that  follow  from  measure  fifty, 
are  antiphonal  in  the  first  five;  then  a  turn  is  taken  that 
continues  the  episode  on  the  thematic  matter  of  the  first 
subject  up  to  the  entrance  of  the  subject  itself  again  in 
measure  sixty-eight. 

16.  The  form  up  to  this  point  is: 

First  Subject  (a  small  Binary); 
First  Episode; 
First  Subject  repeated; 
Second  Episode. 

17.  In  its  third  appearance  the  first  subject  is  varied  (by 
the  admission  of  the  sixteenth  note)  arid  is  abbreviated  to  a 
single  period  of  eight  measures,  following  which  is  the  closing 
group  of  five  measures.  We  can  now  sketch  the  complete 
form: 

First  Subject  (a  small  Binary  of  nineteen  measures) ; 

First  Episode  (four  plus  two  plus  six) ; 

First  Subject  (as  before) ; 

Second  Episode  (eight  plus  ten) ; 

First  Subject  (abbreviated  to  eight  measures); 

Closing  group  (five  measures). 

18.  Between  the  two  Episodes  there  is  no  literal  likeness 
of  material.  The  closing  group  is  merely  the  repetition  of 
the  V-I  Cadence. 


69 


CHAPTER  XVI 
RONDOS   OF   TWO  AND   OF   THREE   SUBJECTS 

1.  In  the  Rondo  with  two  Subjects  (Second  Rondo  Form) 
the  feature  of  repeat,  characteristic  of  the  Rondo,  lies  with 
the  first  theme.  Even  if  the  second  theme  occurs  more  than 
once,  the  entire  purpose  of  the  composition  is  so  to  shape 
and  direct  its  progress  that  favorable  entrance  for  the  open- 
ing subject  is  afforded. 

2.  The  second  subject,  in  this  form,  does  not  follow  the 
Sonata  plan  (which  in  major  is  to  present  its  second  subject 
in  the  key  of  the  dominant),  but  takes  another  key  relation- 
ship, by  preference.  The  subdominant  key  is  frequently 
chosen.  Thus,  in  the  model  of  this  form.  Rondo  in  D,  by 
Ludwig  Schytte,  the  second  theme  is  in  G  major;  and  not  in 
the  dominant  .\  major. 

3.  Aside  from  this  diderence  in  key-sequence,  there  is  no 
necessary  confusion  of  the  Sonata  tirst-mo\'ement  with  the 
Second  Rondo  I'orm,  because  in  the  latter  the  double  bar 
and  repeat  of  a  considerable  portion  from  the  beginning  never 
occurs.     See    MUSICAL    FORM    AND    ANALYSIS,    Selection 

X(J.    2i). 

4.  The  Theme  (first  subject)  is  an  eight  measure  period 
ixactly  divided  as  to  content,  into  Thesis  and  Antithesis 
(four  plus  four). 

5.  Of  tlie  sixteen  measures  that  follow  eight  are  in  defmite 
form,  but  they  do  not  combine  with  the  eight  that  follow  to 
constitutt'  a  formal  group. 

6.  Tlie  leinaiiider  of  the  mu\eiiienl  works  out  as  follows: 


70 

Measures  twenty-five  to  thirty-two  are  a  repeat  (and  the 
first  return)  of  the  principal  theme. 

The  second  subject  in  G  major  (and  G  minor)  is  thirty-two 
measures  long.  The  first  portion  in  G  major  being  eight 
measures;  the  middle  portion  begins  in  G  minor  and  ends  on 
its  dominant,  to  be  followed  by  the  first  eight  measures  in 
G  major. 

After  an  Episode  of  eight  measures,  the  first  theme  enters 
again  as  before. 

The  closing  group  is  reminiscent  of  the  melodic  passages 
previously  used,  and  extends  to  twenty-four  measures. 

While  this  Rondo  is  of  clear  outline,  it  may  be  regarded, 
particularly  as  to  its  Episodes,  in  another  manner.     Thus: 

Measures  one  to  twenty-four:  A  Ternary  of  eight  plus 
sixteen  plus  eight. 

Measures  twenty-five  to  fifty-six:  A  Ternary  of  eight  plus 
sixteen  plus  eight. 

Measures  fifty-seven  to  sixty-four.  Episode.  Eight  meas- 
ures. 

Measures  sixty-five  to  ninety-six.  The  original  Ternary  — 
eight  plus  sixteen  plus  eight. 

Measures  ninety-seven  to  one  hundred  and  twenty. 
Closing  group,  twenty-four  measures. 

7.  Following  this  broader  outline  the  sequence  of  parts 
becomes: 

1.  First  Subject. 

2.  Second  Subject. 

3.  Episode. 

4.  First  Subject. 

5.  Closing  Group. 

8.  Other  examples  of  this  form  are  the  Adagio  of  the 
Beethoven  C  major  Sonata,  Oj).  2,  No.  3,  and  the  Finale  of 


71 

the  E  major  Sonata,  Op.  14.     Both  of  these  should  be  care- 
fully analyzed. 

9.  The  Third  Rondo  Form,  in  which  three  distinct  sub- 
jects appear,  is  merely  an  elaboration  of  the  form  already 
discussed.  To  add  a  third  theme  to  a  Rondo  results  in 
enlarging  its  proportions  and  increasing  the  frequency  of  the 
return  of  the  jirincipal  suljject.  For  it  is  primarily  the 
reiteration  of  the  first  subject  that  gives  the  form  its  Round 
or  Rondo  character.  An  ideal  arrangement  of  this  form 
would  consist  of  this  order: 

First  Subject. 
Episode. 
Second  Subject. 
Episode. 
First  Subject. 
Episode. 
Third  Subject. 
Episode. 
Second  Subject. 
Episode. 
First  Subject. 
Closing  Group. 

10.  The  Rondo  in  F  major,  by  Mozart,  (Litolff),  Sonata 
No.  XVn,  is  an  esi)ecially  Ime  example  of  this  form.  The 
first  subject  is  in  I''  major.  The  second  is  in  D  minor,  and 
the  third  is  in  F  minor.  As  to  form,  the  tirst  subject  is  a 
t.ith'c  measure  i)eri()(l.  The  second  sul)ject  is  a  sixteen 
measure  period  (employing  a  motiN'e  from  the  first  subject). 
'I'he  third  subject  is  a  small  Ternary  form  of  eight  j)lus  six 
plus  eight.  All  inter\t'ning  matter  is  episodical  and  will  be 
found  cspi'cially  skillfully  constructed  from  the  thematic 
groups  of  the  ln"st  subject,  in  combination  with  new  mali'rial. 


72 

11.  The  student  could  do  no  better  to  test  his  knowledge 
of  Form  up  to  this  point  than  to  play  and  analyze  with 
minute  care  the  Mozart  Sonatas  contained  in  the  Edition 
Litolflf  No.  302.  Every  movement  is  full  of  interest,  and  is 
exceptionally  clear  as  to  construction. 

12.  In  this  connection  it  may  be  said  that  the  student  who 
is  acquainted  with  Form  as  applied  in  the  Sonatas  of  Haydn, 
Mozart  and  Beethoven,  has  a  splendid  working  knowledge. 
Besides  the  small  forms  given  in  MUSICAL  FORM  AND 
ANALYSIS,  Op.  16  and  68  of  Robert  Schumann,  and  Op.  172 
of  Cornelius  Gurlitt,  are  an  indispensable  collection  of  pieces 
showing  how  the  primary  forms  may  be  varied  and  yet  held 
to  an  artistic  and  beautiful  outline. 


73 


CHAPTER    XVII 
SUBJECT   AND   EPISODE 

1.  The  fact  that  music  is  created  implies  that  the  composer 
of  genius  who  is  master  of  his  means  and  material  will  give  it 
expression  in  the  manner  that  best  permits  him  to  make  his 
meaning  clear  and  convincing. 

2.  The  student  must  not,  in  consequence,  expect  to  find  in 
the  works  of  a  gifted  composer  a  mechanical  adherence  to 
formal  structure.  The  latter  is  means  and,  as  means,  it 
must  adapt  itself  to  the  artistic  purposes  for  which  it  is  to  be 
employed. 

3.  It  has  already  been  pointed  out  that  in  decorati\c  art 
a  definite  mechanical  balance  of  parts  is  essential  simply 
because  the  eye  takes  in  not  only  quality  of  design,  but 
quantity  also.  In  the  familiar  art  of  the  household  as  ai)plied 
to  rugs,  wall-pa])ers,  embroideries,  and  the  like,  there  is 
invariably  a  definite  and  ecjual  balance  of  one  design  against 
another;  definite  not  only  in  complementary  outline  but  in 
spatial  relation. 

4.  Music,  being  intangible  in  this  (sjxitial)  sense  requires 
no  such  balance  or  boundary.  The  appeal  to  the  car  is  for 
identity  or  diwrsity  (jf  subject  matter.  Xot  even  a  corre- 
sponding number  of  measures  in  one  pari  is  recjuired  to  offset 
those  of  another.  The  single  test  of  the  listening  faculty  is 
se(|ueiice  of  parts  irres])ective  of  the  number  oi  beats  (or 
measures),  and  e(|ually  irresi)ective  of  the  time  duration 
in\()l\c'd  in  i)ro(lucing  theni. 

5.  IkiuT,  the  subject  and  the  e])isode  are  to  be  found  in 
wide  \ariation.     At  times  there  is  found  definite  separation 


74 

at  the  point  where  the  subject  ends  and  the  episode  begins; 
again,  the  two  are  as  closely  joined  as  in  the  intermingling  of 
foreground  and  background  of  a  painting. 

6.  From  these  variations  of  form  as  applied  in  actual  com- 
position, we  meet  with  types  that  appear  equally  analyzable 
in  one  and  another  classification.  The  Theme  in  A  (Mozart 
Sonata,  No.  12)  and  the  Theme  of  the  Beethoven  Largo,  Op. 
2,  No.  2,  while  classed  in  Binary  forms  are  sometimes  re- 
garded as  Ternaries  with  abbreviated  second  and  third  parts. 
The  Binary  character  is  based  on  phrase  balance  and  order; 
while  the  Ternary  character  is  also  recognizable  in  the  return 
of  the  first  part  as  third  part  to  a  degree  beyond  the  length 
and  content  of  the  first  phrase. 

Thus  —  the  Mozart  Theme : 


I 

a 

8  m.  Period. 

II            ^ 

4  m.  Phrase. 

III 

6  m.  Phrase. 

a 
And  the  Beethoven  L 
I 

argo. 
a 

S  m.  Period. 

II  '^ 

III  ^ 

4  111.  Phrase. 
7  m.  Phrase. 

7.  Such  apparently  uncertain  types  of  form  are  not  in- 
artistic, nor  should  they  be  regarded  as  any  more  irregular 
than  the  four-leaved  cl()\-er,  a  jjroduct  ])ro\i(le(l  l)y  nature, 
though  less  frequently  than  the  usual  type  of  three  Ifa\('s. 

8.  The  characteristic  to  be  looked  for  in  the  ]'-])is()(li\ 
whether  of  Sonata  or  of  Rondo  is  this:   that  it  does  not  cuimi- 


75 

late  into  a  fixed  design.  The  Episode  is  not  balanced  as  to 
subject  matter.  Its  order  of  procedure  is  through  fragmen- 
tary matter  that  appeals  to  the  ear  as  a  means  for  return  to  a 
subject.  Its  one  purpose  is,  so  to  speak,  to  let  the  mind  rest 
for  a  moment,  until  there  is  again  introduced  a  subject  that 
shall  engage  the  full  attention. 

9.  It  may  frequently  happen  in  an  episode,  that  distinct 
phrase  or  period  formations  are  present,  but  they  never  relate 
themselves  (as  phrases  and  periods),  for  the  purpose  of 
establishing  a  higher  form  than  themselves. 

ID.  Hence,  nearly  all  music  is  motion  from  subject-matter 
of  first  importance,  though  more  or  less  formless  matter,  the 
purpose  of  which  is  to  reach  the  same  subject  again,  or  an- 
other subject. 

11.  Of  the  forms  we  have  analyzed,  let  it  be  remembered 
that  the  Unitary,  Binary  and  Ternary  types  are  all  subject 
matter;   that  is,  that  no  episodical  matter  occurs  in  them. 

12.  In  the  compound  Ternary  free  matter  fnay  be  intro- 
duced as  Coda.  This,  however,  is  prolongation  or  expansion, 
and  not  properly  Episode. 

13.  In  the  Sonatine  or  Sonata  the  subjects  are  always 
separated  by  episodical  material;  likewise  in  the  Rondo,  for 
the  most  part,  although  two  subjects  may  appear  in  a  Rondo 
conjunctively  without  intervening  Episode. 

14.  The  purpose  of  the  list  of  pieces  for  analysis  given  at 
the  end  of  this  volume,  is  to  suggest  to  the  student  the  ad- 
visability of  becoming  acquainted  with  as  wide  a  range  of 
music  as  possible,  in  order  to  realize  to  what  extent  the  com- 
poser is  able  to  adapt  means  to  purpose.  This  power  of 
adapUition  is  the  art  of  greatest  merit;  it  is  not  fi)un(l  in  the 
slavish  and  mathematical  adherence  to  mensural  balance. 


76 


CHAPTER  XVIII 

TERMINOLOGY 

I.    Comparatively  few  terms  are  necessary  to  specify  the 
factors  and  elements  in  musical  form.     The  following  are 
the  most  important. 
Abbreviation:  The  shortening  of  a  motive  or  of  a  Primary 

Form.     When  applied  to  the  latter  it  generally  occurs 

in  the  middle  period  of  the  Ternary. 
Antithesis:  The  second  phrase  of  a  period. 
Authentic  Cadence:  The  closing  (harmonic)  formula  V-I. 
Binary:   The  term  applied  to  the  two  period  form.     (See 

page  25.) 
Cadence:    (See   the   terms   Authentic,    Plagal,    Deceptive, 

Half). 
Caesura:   A  momentary  resting-point,  or  i)unctuating  pause 

in   the  music,   that   is  not  strictly   coincident   with   a 

Cadence. 
Closing  Group:  The  episodical  passage  that  follows  the 

last  appearance  of  a  subject,  particularly  in  the  Sonata 

and  Rondo  forms. 
Coda:   A  passage  added  to  the  Closing  Group,  generally  in 

extension  of  it,  or  an  independent  group  intended  to 

provide  a  more  graceful  form  of  close. 
CoMPOUTsD  Forms:   A  group  of  Primary  forms,  usually  two, 

of  which  the  first  reai)pears  as  third  jiart,  with  or  without 

a  Coda. 
Deceptive    Cadence:   The    harmonic    formula    \'-\T,    a 

cadential  progression  that  is  usually  availed  of  to  defer 

the  final  Authentic  Cadence. 


77 

Development  :  That  portion  of  the  Sonata  that  lies  between 

the  Exposition  and  the  Recapitulation. 
Elaboration:   Variation,   or,   more   particularly,   develop- 
ment of  a  theme  or  motive. 
Episode:  A  passage  not  in  definite  form  that  lies  between 

two  subjects,  or  between  a  subject  and  its  repetition. 
Exposition:   That  portion  of  the  Sonata  up  to  the  first 

double  bar,   consisting  of  First  Subject,   Intermediate 

Group,  Second  Subject  and  Closing  Group. 
Extension:  The  lengthening  of  a  motive  or  of  a  portion  of  a 

primary  form. 
Half  Cadence:  The  closing  formula  I-V,  not  conclusive  as 

the  end  of  a  form  but  of  a  portion  only. 
Intermediate  Group:  The  episodical  passage  that  leads 

from  the  first  subject  of  a  Sonata  to  the  second;    it 

establishes  the  new  key. 
Landler:   a  country  dance  in  |  or  4,  like  the  Tyrolienne. 
Lengthening:   See  Extension. 
Melodic  Conjunction:   A  short  passage,  of  a  few  notes 

only,  joining  two  portions  of  a  melody. 
Modulation:    Passing  horn  one  key  to  another;    Uteraliy, 

passing  from  one  >)iode  to  anotl,ier,  as  from  major  to 

minor. 
Monometir:   The  single  measure,  not  counted  necessarily 

from  bar  to  bar,  but  from  beat  to  beat. 
Motivk:    A   brief   rhythmical   grou]),   so  constructed   a.s  to 

pcrniil  \arious  forms  of  alteration  and  development. 
Pi.riod:   The  union  of  two   (sometimes  of  three)   I'hr^u'^es, 

with  ])roper  unity  and  contrast. 
Phrase:    .V  nielody,  or  portion  of  melody,  concluding  in  some 

recognizable  caelcncc  formula. 


78 

Plagal  Cadence:  The  closing  formula  IV-I;   infrequently 

used  in  instrumental  music. 
Primary  Forms:  A  term  applied  to  the  Unitary,  Binary  and 

Ternary  form. 
Recapitulation:  The  repeat  of  the  Exposition  of  a  Sonata, 

following  the  Development. 
Rondo:  The  Round;   an  instrumental  form  typified  by  the 

frequent  repetition  of  a  subject. 
Section:  The  group  that  results  from  dividing  the  phrase 

into  two  equal  parts. 
Sonata  :      )  A  form  embracing  two  subjects  with  appropri- 
Sonatine  :  j      ate  episodical  matter. 
Song  Form:   See  Primary  Form. 
Subject:  A  formal  group  used  either  independently,  or  as 

part  of  a  larger  structure. 
Ternary:  Of  threefold  structure,  usually  applied  to  the 

Primary  Form. 
Theme:   See  Subject. 
Thesis:  The  initial  phrase  of  a  period. 
Unitary:   A  single  small  or  large  period,  either  independent 

(as  in  the  folk  song)  or  used  as  subject  matter  in  a  larger 

form. 
Variation  :   The  rhythmic  (and  often  harmonic)  elaboration 

of  a  given  subject;  also  applied  to  the  motive. 


79 


CHAPTER  XIX 

TEST   PAPERS 
I.   American  College  of  Musicians 

1.  Define: 

a.  Measure.  e.  Double  Section. 

b.  Motive.  f.   Thesis. 

c.  Phrase.  g.   Antithesis. 

d.  Section.  h.   Rhythm. 
Give  illustrations,  original  or  quoted. 

2.  Describe,  more  or  less  fully,  the  following  forms: 

a.  Song.  d.   Simple  Rondo  (first  form). 

b.  Menuctto.  e.    Sonata. 

c.  Scherzo. 

3.  Analyze  the  accompanying  composition,  indicating  by 

means    of    terms,    brackets,    figures     ("metrical 
cipher"),  etc. 

a.  Principal  and  subordinate  themes,  both  in  exposition 
and  devclojiment. 

b.  Connective  or  transitional  passages. 

c.  Organ  point. 

d.  Keys  jiassed  through  in  the  development. 

e.  Subdivisions  of  themes,  motiva:  structure,  and  such 

other  minor  ])oints  as  would  indicate  a  thorough 
understanding  of  the  example  submitted. 
(For  this  Analysis,   a  sonata  first  movement  was 
rcciuircd.) 


8o 

n. 

1.  Give  a  sample  of  a  complete  simple  period,  indicating 

diflerent  portions  by  name. 

2.  Give  samples  of 

a.  Large  two-part  period, 

b.  Large  three-part  period. 

3.  Define  a  motive. 

4.  Bracket  and  number  each  motive  in  the  accompanying 

excerpt,  numbering  duplicate  motives  the  same 
as  those  from  which  they  are  derived. 

5.  Briefly  describe  the  Overture,  Concerto,  and  Symphony. 

6.  Outline  the  usual  form,  key-relationship,  and  general 

character  of 

a.  The  Sonata. 

b.  The  Scherzo,  and 

c.  The  Rondo  form. 

III. 

I.   What  is  indicated  bv  the  following  sketch? 


And  by  the  following? 


3.  Carry  out  the  following,  cither  rhythmically  or  as  a 
melody,  so  that  it  shall  form  a  period.  Mark  sub- 
di\isi()ns  with  brackets  and  designations. 


8i 


Reconstruct  the  following,  begin  when  you  please,  and 
change  the  value  of  notes,  so  as  to  bring  the  whole 
within  the  limits  of  a  complete  period. 


5.  Briefly  describe  the  Rondo  form. 

6.  Briefly  describe  the  Sonata  form. 

IV. 

1.  Construct  a  short  motive  and  out  of  it  develop  a 

melody  for  one  stanza  of    any  familiar  hymn. 
Indicate  the  metre. 

2.  What  is  the  aesthetic  value  of  a  stretto?     Of  tonic 

Organ-j)()int?     Of    dominant    Organ-point?     Of 
tonic  and  dominant  combined  in  Organ-point? 

3.  Write  of  the  \alue  of  modulation  in  instrumental  and 

vocal  music  resj^ectively. 

4.  Write  of  the  relation  of  intellect  and  emotion  to  the 

composition  of  a  work  of  art. 

5.  Write   of   the   conditions   which   effect   the   listener's 

appreciation  of  a  musical  composition. 

6.  Write  of  the  relation  of  intellect,  emotion  and  tech- 

nique in  the  interpretation  of  an  art  work. 

7.  (a)  Name  a  work  in  First  Rondo  form,     (b)  The  same 

in  composite  form. 


82 

8.  (a)    Describe   the   usual   Scherzo   form;    give   time- 

signature,  usual  tempo  and  character,     (b)  Write 
an  original  theme  for  Scherzo. 

9.  Sketch  a  large  three-part  period;   bracket  and  name 

subdivisions. 
10.   What  is  the  difference  between  a  Fantasia  and  the 
First  Movement  of  a  Sonata 

V.  Based  on  the  Primary  Forms: 

1.  What  use  is  made  of  the  Unitary  form? 

2.  What  Cadences  may  be  used  at  the  termination  of  the 

first  phrase  of  a  Unitary  form  ? 

3.  Of  what  two  kinds  of  period  (structure)  may  the  Bin- 

ary be  constructed  ? 

4.  What  Cadence  may  terminate  the  first  i)eriod  of  the 

Binary  form  ? 

5.  How    would   you    distinguish    between    a   period   of 

four  plus   four    plus    two    and    a    ten   measure 
phrase  ? 

6.  To  what  part  of  the  Ternary  is  extension  most  fre- 

quently applied  ?     Abbreviation  ? 

7.  What  is  the  usual  purpose  of  the  deceptive  cadence  in 

a  Primary  form  ? 

8.  Of  how  many  independent  forms  is  the  compound 

Ternary  constructed  ? 

9.  What  is  the  pur])ose  of  the  Coda  when  it  appears  after 

a  compound  Ternary? 

10.  Distinguish  between  a  Coda  and  an  Episode. 

11.  Cite  several  methods  of  ni(>ti\e  dcvelo]>mcnt. 

12.  Write  a  brief  motive  and  show  its  possible  variations 

in  accordance  with  your  answer  to  Question  11. 


83 

13-   What  part  of  the  Ternary  is  frequently  abbreviated? 
Why  is  it  artistic  to  make  the  abbreviation  ? 

VI.  Based  on  the  Sonatine  and  Sonata. 

1.  How  does  the  Sonata  differ  from  the  Sonatine? 

2.  Explain  the  terms  Exposition,  Development,  Recapit- 

ulation. 

3.  Sketch  the  Exposition  of  a  Sonata  in  D  minor,  and 

of  one  in  B  major;  indicate  keys  and  the  purpose 
of  Episodical  matter. 

4.  What  thematic  matter  is  usually  presented  in   the 

Development? 

5.  Where  may  free  modulatory  passages  be  introduced, 

in  the  Sonata  (first  mo\-cmcnt)  ? 

6.  Why  may  the  Closing  group  be  extended  by  the  addi- 

tion of  a  Coda? 

7.  Why  are  some  forms,  shorter  than  the  Sonatine,  called 

Sonatas  ? 

8.  State  what  movements  constitute  the  Sonata,  as  a 

whole,  and  indicate  the  key-relationship  of  the 
movements. 

9.  How,  in  your  observation,  do  composers  differentiate, 

in  character,  the  two  subjects  of  a  Sonata  (first 
movement)  ? 

10.  Which  movements,  of  a  Sonata,  may  be  in  Sonata 

form  ? 

11.  Cite  an  instance  of  a  Sonata  opening  with  an  Intro- 

duction. 

12.  Cite  an  instance  of  a  Sonata  containing  a  Theme  and 

\'ariations. 

13.  Define  the  words  Sonata,  Cantata,  Scherzo,  Menuetto. 


84 

14-   Does  the  Sonata  ever  appear  with  shortened  Recapitu- 
lation ? 

VII.   Based  on  the  Rondo  Forms: 

1.  How  are   the   Rondo   forms   distinguished,   one  from 

another? 

2.  In  what  key  may  the  second  subject  (of  a  second  Rondo 

form)  be  written  ? 

3.  The  third  subject  of  a  third  Rondo  form? 

4.  Show   how  a   Rondo   of   two  subjects  differs  from  a 

Sonata  movement. 

5.  What  is  the  purpose  of  the  Episodes  of  a  Rondo? 

6.  What  is  the  final  Episode  called  ? 

7.  Are  the  repeats  of  a  Rondo  subject  always  literal? 

8.  W^hat  differences  would  you  naturally  expect  to  find 

between  a  Ternary  form  and  a  Rondo  (first 
subject)  followed  by  an  Episode  leading  to  the 
return  of  the  first  suljject  ? 

MUSIC  FORM:  (Set  by  the  Regents  of  the  state  of  New 
York  for  candidates  for  the  academic  Diplomas). 

Not  more  than  2  hours  arc  to  be  allowed  for  this  jjajier. 

Write  at  top  of  first  page  of  answer  paper  (a)  name  of  scliool  wIktc 
you  have  studied,  {b)  number  of  weeks  and  jieriods  a  week  in  mu.->iial 
form  and  analysis. 

The  minimum  time  reriuircment  i.^  four  period-  a  week  for  a  school 
year. 

Aiisu'cr  qufslioi!  q  and  six  of  l!:c  olh-rrs. 

I.  Name  and  describe  l^riefiy,  or  diagram,  the  classical 
forms  with  which  you  are  familiar,  beginning  with  the 
period,     [lo] 


8s 

2.  State  the  tempo,  key  and  probable  or  possible  form  of 
each  movement  of  a  typical  four  movement  sonata.     [lo] 

3.  Define  or  explain  the  following  terms:  recitative,  aria, 
ballad.  Lied,  folk  song,  art  song.     [10] 

4.  Write  the  following  as  melodies:  (a)  an  eight  measure 
period,  {b)  a  six  measure  phrase,  {c)  an  extended  period,  {d) 
a /tw  measure  i)hrasc.     [10] 

5.  Answer  both  a  and  b: 

a.  Describe  the  minuet  and  trio,  as  to  key-relation- 

ship and  form.  Why  is  the  minuet  played  da 
capo  after  the  trio?     [6] 

b.  What  com])oser    substituted   the    scherzo   for   the 

minuet  in  his  sonatas  and  symphonies?  What 
esthetic  reasons  justify  this  change?  In  what 
ways  do  the  two  forms  resemble  each  other  and 
in  what  ways  do  they  differ  from  each  other?     [4] 

6.  What  moxcments  constitute  the  suite,  as  written  by 
J.  S.  Bach?     [[q] 

7.  Describe  the  oju'ra  overture.  What  is  its  esthetic 
purjiose?     What  thematic  material  sliould  appear  in  it?    [10] 

8.  Name  and  describe  fully  the  different  "song  forms.'' 
[lol 

c).  Analyze  the  music  on  the  accompanying  sheet.  Name 
the  f(.)rm  in  whicli  it  is  cast.  Indicate  on  the  sheet  the 
limits  and  keys  of  the  \arious  subjects.  Indicate  a  connect- 
ing episodic  jjassage.  [40I.  (A  Rondo  mo\ement  was  set 
for  analysis.) 


86 


CHAPTER  XX 
THE  APPLICATION   OF   MUSICAL  FORM 

1.  The  subject  of  Musical  Form  is  not  one  that  should  be 
deferred  until  the  student  is  ready  to  take  up  Composition. 
Its  immediate  practicability  lies  in  the  fact  that  it  is  useful, 
indeed,  indispensable,  from  the  beginning  of  all  music  study  — 
vocal,  instrumental  or  theoretical. 

2.  At  least  the  contents  of  this  text  book  should  be 
thoroughly  familiarized  by  the  time  the  pupil  is  able  to  play 
the  easier  Sonatas  of  Mozart  and  Beethoven.  It  has  already 
been  pointed  out  that  both  interpretation  and  memory  are 
aided  by  this  knowledge.  There  is,  indeed,  no  way  of  supple- 
menting its  lack,  on  the  part  of  the  student. 

3.  Hence,  no  music  lesson  should  ever  be  given  at  which 
the  form  of  the  Composition  that  is  being  studied,  is  not 
clearly  analyzed  and  marked  for  the  student's  guidance  and 
appreciation.  Everything  that  enters  into  such  analysis  is 
so  simple,  so  easily  perceived  that  it  requires  but  a  small 
degree  of  attainment  for  one  to  become  capable  of  the  neces- 
sary fundamental  knowledge. 

4.  Nearly  all  short  teaching  pieces  are  in  one  or  another 
of  the  Primary  Forms  (Simple  or  Compound).  Rondos, 
especially  when  simply  written,  are  so  entitled.  Not  all 
Sonatines,  however,  are  in  Sonatine  form.  Composers  fre- 
quently use  this  term  carelessly;  or,  at  least,  not  in  its  strict 
application.  But  the  directions  given  in  this  text,  on  the 
Sonatine  and  Sonata,  will  enabk'  the  student  to  know  when 
the  form  has  been  strictly  obser\  ed,  and  when  not. 


87 

5.  In  its  application  in  teaching,  the  first  essential  is  to 
outline  the  form  of  the  entire  work  to  the  student.  Even  if 
this  be  done  in  the  simplest  series  of  lines,  it  will  enable  the 
student  to  know,  o\cx  what  kind  of  a  line  of  progress  the  mind 
must  move  to  follow  the  composer's  thought.  Thus,  in  the 
ellort  to  ])icture  the  Mozart  Theme  in  A  (MUSICAL 
FORM  AND  ANALYSIS,  No.  i),  even  these  lines  will  im- 
press the  form  balance  upon  the  mind  forever: 

a.  Opening  Phrase. 

b.  Second  Phrase  like  the  first. 

c.  Third  Phrase  new  matter. 

d.  Fourth  Phrase  (melody  of  the  first  or  second). 

e.  Two  measures  of  extension. 

6.  With  this,  let  the  Cadences  be  memorized;  then  to  play 
the  whole  Theme  and  its  following  variations  will  be  found 
a  much  more  sim})le  matter  than  if  no  outline  had  been 
followed. 

7.  This  sim])le  de\ice  may  be  applied  to  any  piece  of 
music,  however  long  or  api)arcntly  complex.  In  fact,  a  form- 
outline  undeceives  us  as  to  the  apparent  complexity  of  long 
compositions,  showing  that  there  is  a  definite  growth  and 
interrelationship  oi  ])arts  throughout. 

8.  Profitably  to  make  use  of  Musical  I'orm,  the  young 
student  needs  to  know  onl}'  the  major  and  minor  keys;  the 
catlcnces  (see  Chajjter  1 );  to  be  al)le  to  detect  a  real  from  an 
apparent  modulation;  and  likewise  tt)  realize  harmonic 
identity  of  structure  imder  a  \ariation  in  rh\-thmic  expres- 
sion. As  none  of  these  factors  is  i)U/zling  in  the  teaching 
l)ieces  and  etudes  that  come  l)cfore  tlie  student,  he  will 
gra(hially  master  the  ])roblt.'nis  of  their  dexclopnu'nt  in 
adxanccd  works,  as  lu'  hiin>flf  di'M-lops  {\\v  ca])acity  to 
perform  lluni. 


88 

9.  Even  in  the  course  of  a  single  year  the  average  student 
meets  with  enough  new  music  to  give  him  ample  opportunity 
to  practice  elementary  analysis,  to  his  great  enlightenment. 

10.  When  the  form  is  clearly  perceived  by  the  analytical 
process,  through  the  eye,  the  perception  of  form  through  the 
ear  alone  should  be  practiced.  The  two  processes  of  analysis 
(eye  and  ear)  afford  one  a  technic  that  is  in  its  way  equally 
valuable  with  the  technic  of  fingers,  for  it  supplies  that  with 
which  the  latter  is  involved. 

11.  While  there  are  abundant  illustrations  in  MUSICAL 
FORM  AND  ANALYSIS,  of  the  Forms  treated  in  this  text 
book,  the  student  who  is  desirous  of  seeing  various  examples 
of  each  distinct  type,  will  do  well  to  study,  as  occasion 
affords  the  opportunity,  all  the  movements  in  this  list: 

Gurlitt  —  Op.  172. 

Schumann  —  Op.  15  and  Op.  68. 

Kuhlau  —  Sonatines  (all  movements). 

Clementi  —  Sonatines  and  Sonatas. 

Mozart  —  Sonatas. 

Beethoven  —  The  easier  Sonatas. 

Tomaschek  —  Eclogues. 

Mendelssohn  —  Songs  without  Words. 

Schubert  —  Impromptus. 

12.  In  another  volume  (Second  Year  Musical  Form)  there 
will  be  taken  up  such  forms  as  the  Higher  Rondos,  the 
Idealized  Song  Forms,  The  Prelude,  Fugue,  Invention,  Sin- 
fonia,  and  the  various  movements  of  the  Suite;  and  tj'pes  of 
all  forms  that,  in  the  hands  of  more  recent  composers  than 
those  of  classical  times,  are  constructed  with  less  evident 
lines  of  demarcation  between  the  parts. 


89 


CHAPTER  XXI 
THE   SIMPLE  SONG 

1.  A  song,  whether  simple  or  complex,  requires  a  text. 
The  text  of  a  song  is  that  stanza,  or  set  of  stanzas,  to  which 
the  music  is  set.  Not  only  must  the  music  be  so  wedded  to 
the  words  that  the  exact  prosodical  relation  (of  the  verses) 
is  maintained  in  the  music,  but  it  must  be  of  such  a  char- 
acter as  to  reflect  the  varying  moods  expressed  by  the  poem. 

2.  Whatever  is  required  in  the  perfect  reading  of  a  poem, 
is  required  of  its  music  setting,  the  single  difference  being 
that  the  musician  employs  a  wider  tone  range  than  the 
reader  does.  But  the  music  setting  must  permit  a  perfect 
reading  so  far  as  it  is  required  by  enunciation,  prosody,  ac- 
cents, relative  length  of  syllables  —  logical  and  rhetorical 
accents,  and  the  like. 

3.  When  the  composer  has  selected  a  iK)em  for  music  set- 
ting he  must  decide  in  which  of  two  forms  it  may  be  written. 
Either  it  may  be  strophically  composed  or  comi)ose(l 
"throughout."  By  the  former  metliod,  each  stanza  of  the 
l)()em  is  sung  to  the  same  music;  and  conversely  by  the 
"throughout"  composed  i)lan,  an  in(le])endent  setting  is 
gi\cn  to  e\'ery  line  of  the  poem. 

4.  Practically  all  folk  songs,  hymn  tunes,  patriotic  songs, 
and  the  like,  are  strojjhically  com])osc(i.  Hence,  in  the  ca>e 
of  a  poem  of  four  stanzas,  all  the  changing  sentiment  of  [he 
individual  stanzas  is  sung  to  the  same  nnisic.  Tlie  only 
])ossil)le  \ariation  that  permits  an  adaptation  of  changing 
meaning  as  tlir  i)oeni  progresses  is  found  in  modifying  the 


9° 

tempo  and  the  dynamics.  A  "Song  of  Summer  Days,"  for 
example,  consists  of  two  stanzas.  In  the  first,  a  bright, 
balmy,  briUiant  summer  day  is  described;  in  the  second,  a 
rainy,  dreary,  soul-saddening  scene  is  described.  Mani- 
festly, to  set  both  stanzas  to  the  same  music  (that  is,  to 
compose  the  song  strophically)  would  result  in  a  ridiculous 
composition,  unless  the  auditors  were  considerate  enough 
to  forget  the  first  stanza  while  listening  to  the  second. 
Even  then  the  music  fittingly  pertaining  to  a  bright  day 
would  necessarily  not  pertain  to  the  other  kind  of  a  day. 

5.  If  the  student  will  examine  strophically  composed 
songs  he  will  find  many  that  are  as  ridiculous  as  the  suppo- 
sitious song  of  the  preceding  paragraph.  In  fact,  many 
hymns  —  so  composed  —  require  the  utmost  nicety  of  hand- 
ling in  performance  not  to  betray  the  fearfully  inappropri- 
ate attempt  to  sing  of  God's  goodness  in  the  same  melody 
and  tempo  that  are  employed  to  depict  his  anger. 

6.  The  "throughout"  composed  song  ])ermits  an  appro- 
priate music  setting  to  every  line  of  the  poem,  and  conse- 
quently a  more  logically  artistic  unity  is  possible  between 
the  music  itself  and  the  verses.  (As  a  t>7)e,  see  Der  Asra, 
by  Anton  Rubinstein,  or  almost  any  one  of  the  songs  by 
Franz  Schubert.) 

7.  Properly  to  appreciate  such  a  song  the  student  should 
first  acquaint  himself  with  the  poem,  noting:  its  richness  oi 
imagery;  its  progressiveness;  its  climax  jmint;  and  its  pur- 
pose (in  the  expression  of  some  distinct  human  sentiment). 
While  the  great  composer's  treatment  of  these  factors  may 
to  some  extent  be  instinctive,  he  is  never  guilty  of  disregard- 
ing the  necessity  to  emphasize  them  in  order  that  he  may 
secure  from  them  the  greatest  extent  of  suggestion,  so  that 
there  shall  be  estaljlished  between  the  work  of  the  poet  and 


91 

his  own  an  intimacy  of  relationship  that  produces  a  unity  of 
expression. 

8.  Goethe's  poem,  Der  Erlkonig,  as  set  by  Franz  Schu- 
bert, should  be  carefully  examined  by  the  student.  This 
song  is  composed  throughout  for  the  manifest  reason  that 
it  would  be  illogical  to  assume  that  the  music  could  be  re- 
peated and  yet  carry  forward  appropriately  the  progressive- 
ness  of  the  dramatic  action.  All  the  varying  incidents  of 
the  action  present  an  emotional  on-going  that  find  their 
climax  in  the  concluding  Recitative  passage: 

in  seinen  Armen  das  Kind  war  lodt. 
On  the  other  hand,  the  same  composer's  setting  of  Hark! 
Hark!  the  Lark!  is  appropriately  enough  strophically  writ- 
ten. If  the  stanzas  be  read  carefully  it  will  be  seen  that  the 
underlying  sentiment  is  more  or  less  unified;  that  there  is 
little  or  no  progressive  dramatic  action;  rather  are  the 
lines  descriptive  of  a  sentiment  that  is  fully  presented  in 
the  opening  stanza. 

9.  Der  Doppelgdnger,  by  Schubert,  though  short  (sixty- 
three  measures),  consists  of  a  melody  that  does  not  return 
upon  itself.  That  is,  its  phrases  are  new  and  proj^crly 
adapted  to  the  text  as  the  scene  unfolds  before  us.  The 
student  should  note  this  influence  of  words  upon  music. 
They  do  not,  in  the  hands  of  a  distinguished  and  capable 
composer  permit  of  that  phrase  identity  (in  melody  and 
liarmony)  that  is  so  distinguishing  a  feature  of  instrumental 
themes.  In  the  latter,  the  ear  must,  unaided  by  extraneous 
lu'li),  carry  the  phrase  and  period  relationship.  In  all  great 
songs  the  piano  accompaniment  is  orchestral  in  its  nature; 
it  is  an  iiulej)endent  part  that  gives  color  and  ilramatic  in- 
tensity to  the  reading  of  the  poem  by  the  singer. 


92 

10.  The  common  types  of  accompaniment  that  provide 
merely  a  harmonic  support  are  reminiscent  in  form,  and 
identical  in  purpose  with  the  sounding  of  harp  or  lyre  strings 
by  the  ancient  singers.  This  form  of  instrumental  accom- 
paniment is  generally  found  in  songs  of  a  light,  simple, 
narrative  character.  Songs  of  dramatic  character  are  usu- 
ally provided  with  an  instrumental  accompaniment  that  in 
itself  portrays  the  undercurrent  of  the  emotional  content  of 
the  poem. 

11.  Many  pianoforte  compositions  are  literally  what 
Mendelssohn  described  some  of  his  to  be;  namely,  Songs 
without  Words.  In  these  a  distinct  Song  melody  is  so  har- 
monized that,  when  skillfully  performed,  it  gives  one  the 
impression  of  a  Solo  melody  with  accompaniment.  But 
invariably  in  such  instrumental  "songs"  there  is  a  definite 
form  balance  established  by  the  literal  repeat  of  all,  or  of 
some  portion,  of  the  opening  period  —  a  factor  that  is  rarely 
present  in  the  best  vocal  compositions.  The  reason  for 
this  difference  lies  in  the  mental  state  of  the  listener;  in  the 
song  he  follows  (or  should  follow)  the  text  of  the  poem. 
What  //  says  and  how  its  meaning  de\elo])s  is  the  principal 
factor.  In  the  instrumental  form  tliere  is  an  absence  of 
text,  and  often  even  of  a  suggestive  title.  Hence,  the 
listener  builds  up  the  unity  from  an  artistic  correlation  of 
parts,  in  which  variety  and  identity  are  the  two  principal 
factors  of  the  inner  constructive  meaning. 

12.  Song  analysis,  then,  is  strictly  jioem  analysis.  The 
poet's  meaning,  his  imagery,  the  rhythm  of  liis  lines,  the 
alternation  of  syllables,  the  progressi\-e  ai)|)roach  to  the 
climax  —  all  these  must  be  fully  appreciated  from  the  poem 
itself  before  we  turn  to  the  music.     In  its  turn,  the  music 


93 

must  be  the  handmaid  to  these  factors  of  poetic  construction. 
All  the  processes  of  the  composer  must  follow  those  of  the 
poet,  to  the  extent  that  when  the  song  is  sung  as  beautifully 
as  possible,  the  result  is  that  the  poem  has  been  read  as 
beautifully  as  possible. 


94 


CHAPTER  XXII 
FORM  AND   THE  SCHOOLS  OF  COMPOSITION 

1.  While  Contrapuntal  Forms  will  be  taken  up  for  study 
in  the  succeeding  volume,  reference  to  them  may  be  included 
here  in  their  relation  to  the  Schools  of  Composition  that  fol- 
lowed upon  the  passing  over  of  the  strict  writing  of  Johann 
Sebastian  Bach  to  the  freer  style  of  his  son  Phillipp  Emanuel 
Bach,  and  of  Joseph  Haydn. 

2.  Examination  of  the  works  of  Johann  Sebastian  Bach 
(now  played  on  the  piano)  reveals  a  comparatively  long  list 
of  Forms  written  by  that  eminent  writer.  Besides  the  Pre- 
lude and  Fugue,  the  Fantasie,  the  Invention  and  Sympho- 
nia  there  were  the  regular  movements  of  the  Suite  (that  is, 
regular  as  to  order  and  common  to  every  Suite  that  Bach 
wrote):  The  AUemande,  the  Courante,  the  Sarabande,  and 
the  Gigue. 

It  was  always  Bach's  practice  to  introduce  between  the 
Sarabande  and  the  Gigue  one  or  more  of  the  many  Dance 
forms  in  vogue  in  his  time.  These  we  find  in  the  English 
Suites:  The  Bourree,  Gavotte  (with  Musette),  Menuet,  and 
Passcpied.  In  the  French  Suites  (which  lack  the  Prelude 
found  in  the  English  Suites)  there  are  the  Air,  Menuet  with 
Trio,  Gavotte,  Bourree,  and  Polonaise.  In  the  Partitas  we 
find  as  o[)ening  number  the  Praeludium,  Sinfonia,  Fantasia, 
0\erture,  and  Toccata;  and  as  additional  Dance  move- 
ments to  the  Suite  jiro])er,  the  forms  already  mentioned 
under  the  two  preceding  Suites  and,  in  addition,  the  Ron- 
deau, Capriccio,  Burlesca  and  Scherzo. 


95 

3-  Many  of  these  Dance  forms  have  survived  and  have 
been  given  broader  and  more  amplified  treatment  by  writers 
subsequent  to  Bach's  time.  This  is  particularly  true  of  the 
Menuet,  which  was  given  a  place  in  the  Sonata  by  the 
writers  of  the  Classical  School.  The  later  composers  who 
have  employed  these  Forms  for  composition  have  invariably 
expanded  them  to  the  Compound  Ternary  while  with  Bach 
and  his  contemporaries  the  Form  is  invariably  of  two  equal 
parts  separated  by  the  double  bar.  In  comparatively  few 
instances  do  we  find  the  Ternary  Form  (with  first  part 
more  or  less  literally  repeated  as  third  part)  present  in 
Bach's  compositions. 

4.  But  the  composers  of  the  Classical  School  (particu- 
larly Haydn,  Mozart,  and  Beethoven)  developed  the  Ter- 
nary to  extensive  dimensions  and  perfected  it.  As  we  have 
seen  in  preceding  chapters,  the  First  movement  of  the 
Sonata  is  an  elaborate  Ternary.  In  such  Sonatas  as  con- 
tain a  Menuet  or  its  equivalent,  the  form  is  invariably  a 
Com{)ound  Ternary.  Frequently  the  Sonata  Form  (First 
movement  Form)  is  present  in  the  slow  movement  and  in 
the  Finale. 

5.  The  simplicity  of  the  Rondeau  as  we  find  it  in  Bach 
gives  place  to  an  elaborate  Form  of  one,  two,  or  three  sub- 
jects of  genial,  merry  character,  and  this  placed  in  direct 
contrast  with  the  graver,  more  serious  emotional  content  of 
the  First  movement  and  of  the  slow  mo\ement.  The  four 
movement  Sonata,  brought  to  its  perfection  by  Beethoven, 
was  ]-)rece(lc(l,  in  the  works  of  Haydn  and  Mozart  especially, 
l)y  the  three  movement  Sonatas,  often  of  curious  movement 
sequence.  Thus  Haydn  in  one  Sonata,  in  K  Hat,  conckulcs 
with  a  Menuet,  which,  however,  by  extension  and  Ijy  the 


96 

introduction  of  a  Theme  in  E  flat  minor,  takes  on  distinctly 
the  character  of  the  Rondo.  It  has  already  been  pointed 
out  that  all  of  the  three  great  Sonata  writers  of  the  Classical 
School  introduced  mo\Tments  that  were  not  properly  of 
this  Form:  like  the  Theme  and  Variations,  the  March,  and 
the  Fugue. 

6.  The  principles  of  Form  construction  that  were  so 
highly  evolved  in  the  Sonata,  by  the  classical  composers, 
were  not  abandoned  in  their  smaller  pieces.  Hence,  in  such 
forms  as  the  Bagatelle,  the  March,  the  Theme  (with  \'ari- 
ations),  the  Waltz  and  the  like,  the  Primary  Song  Form 
(simple  or  compound)  is  invariably  clearly  expressed.  For 
this  reason  the  works  of  the  Classical  School  constitute 
ideal  material  for  the  study  of  Form.  When  they  were 
taken  up  by  the  Romantic  Composers  they  underwent  cer- 
tain changes  that  literally  enhanced  their  beauty  by  devices 
of  composition  that  removed  their  literalness  and  exactness 
of  structural  lines.  The  student  has  only  to  compare  any 
of  the  shorter  movements  of  Haydn  with  those  of  Mendels- 
sohn to  note  the  advent  of  this  principle.  In  Haydn's 
shorter  compositions,  the  Cadences  are  literal  stopping 
places,  the  Periods  are  frequently  marked  by  the  double  bar, 
and  the  continuity  of  the  whole  is  frequently  broken  by  the 
obviousness  of  the  cadential  formulae.  In  the  shorter  works 
of  Mendelssohn,  the  Cadence  points  are  often  only  sugges- 
tive of  a  cessation;  there  is  an  onward  moving  impulse,  a 
progression  from  beginning  to  end  thai  results  in  a  merging 
of  all  the  ])arts  (Periods)  into  a  unified  whole.  And  yet 
with  this  almost  unbroken  unity,  the  divisions  of  the  struc- 
ture arc  just  as  clearly  perceptible  as  they  are  in  the  more 
ob\-ious  cadences  of  the  earlier  writers. 


97 

7-  For  these  reasons  the  shorter  movements  by  composers 
of  the  Classical  School  are  admirable  for  the  first  study  of 
the  simpler  forms,  but  those  of  the  Romantic  School  are 
subsequently  essential,  for  they  stimulate  to  a  higher  de- 
gree the  process  of  analysis.  As  we  have  pointed  out  in 
regard  to  decorative  Forms,  the  quantitative  element  is  al- 
ways present.  This  may  be  said  in  a  measure  of  the  earlier 
types  of  the  Song  Forms  —  while  in  those  of  the  Romantic 
School,  greater  use  is  made  of  the  qualitative  principle. 

8.  With  the  advent  of  compositions  bearing  distinct  titles, 
the  creators  of  Form  began  more  or  less  to  yield  something 
to  the  underlying  programme  suggested  by  the  title.  Two 
very  simple  illustrations  of  this  may  be  found  in  the  two 
short  pieces  by  Robert  Schumann,  entitled  Scheherazade  and 
Mignon,  both  of  which  are  Ternary  Forms  in  content;  but 
in  neither  is  there  any  recapitulation  of  the  opening  period 
as  third  part.  The  reason  for  this  is  seen,  particularly  in  the 
Scheherazade  which  portrays  the  story  of  the  Sultaness  who 
to  save  herself  from  decapitation,  agrees  to  tell  the  Sultan 
a  new  story  —  without  repetition  —  for  a  Thousand  and 
One  Nights.  The  virtue  in  this  instance  of  not  repeating 
the  first  i)criod  of  the  Form  as  third  period,  needs  no  defence. 


98 


CHAPTER   XXIII 
TYPES  OF  CADENCES  FOR  ANALYSIS 

1.  The  Cadence  in  four-part  harmony  (See  Chapter  I)  is 
a  process  of  chord  movement  that  rarely  occurs  in  piano- 
forte music  without  free  rhythmic  progression.  Hence,  in 
the  beginning  of  such  analytical  work  as  this  book  treats  of, 
it  is  often  a  puzzling  matter  to  the  student  to  determine  the 
exact  tones  (in  the  rhythmic  figure)  that  combine  into  the 
cadence  formula. 

2.  Each  of  the  following  examples  should  be  studied  and 
resolved  into  its  simple  chord  relationship.  Suspensions, 
passing  and  changing  tones  in  the  cadence  group  should  be 
marked.     (See  No.  i.) 


No.  I.     Key  Eb.     Tempo  Adagio 


II    I    II 


99 


No.  2.     Key  Eb.     Tempo  Adagio 


No.  3. 

Andantino 


2 


V   \ 1 — f^» — ^^    A. 


^i^- 


P'^-^-^-iJziM. 


No.  4.     Key  F  major.     Tempo  Allegro 


^= 


I 


s — ^ — it — *- 


^f=i; );-^i 


w 


rr 


1  k  -    H*-  -•-    3  1     ^    -*--•-    3 


No.  5.     Key  A  minor.     Tempo  Andante  grazioso 

/' N      6    4    -    4    3    4  -•-  -  -^-   -#  ill-    -•-      /- N 

A—^XT-^- 1 — — — I 1-^ — m.ym-'f!z-  a — 


4  tf       4  •       -•-       2       -•-     -—-.#-• -J- 

4^         "-   ^  ,        —A- 


lOI 


No.  6.     Key  D  minor.     Tempo  Allegretto 


3 


-».-ii«g^^^ii^g^^^ 


p  cresc.  f 


9i-=^ 


4- 


No.  7.     Key  D  major.     Tempo  Allegretto 


I  U.S. 
1   — ■ 


8J- 


^  ^ 


P^«^ 


^^^^r^^,.•H^^^|>Fft-^f^ 


— J — 

\ 4.:       _ 


I02 


m.s. 


tn.s. 
—I- 


§ 


:^=d: 


9^ 


1> 


Tit- 


No.  8.     Key  F  major.     Tempo  Adagio 


No.  9.     Key  F  minor.     Tempo  Allegretto 


feJ: 


tr^jf /^  y^ 


I03 


No.  lo. 

Andatite  (J  =72) 
A 


a^eEjEEJEgEJE^^EgE^ 


-■^ — ^-=1- 


±EtaE: 


— ^  — ti — ^'— ii — ^ — ^ — ^ — iT 


*•       i 


^m 


i=^ 


If:: 


No.  II.     Key  G  major.     Tempo  Allegro 


1       a      3 


-t 


3: 


*~?-ff    "^^ 


^^^ 


-X:;^^ 


'%~. 


3 


i^,-- 


.»  •'!r-f:  >. 


;H 


p  '"- 


t^^^ 


I04 


No.  12.     Key  E  minor.    Tempo  Allegretto 


i^^m^MB^^^ 


(dolce)    "  I  := 


^^^=^^=eE^P^=|e^^] 


r^f 


^:r>^. 


^:^=F^^ 


t==rt=-Fif 


-S'-H— e^-r 


f:i^ 


|i*felS=l 


I       1        -^^  -•-        -•-        \u 


I05 


No.  14.     Tempo  Allegro 


I 


;■-_..- 1; 


X  s 


^ N 


^  *  '^      Mcli.  (I.e.  f/ia  scu'ii  rc/i/iid 


io6 


CHAPTER  XXIV 
MODULATION 

1.  It  has  been  pointed  out  in  a  preceding  chapter  that 
harmonic  progression  is  an  essential  factor  in  all  phases  of 
music  analysis,  underlying  Form.  While  it  is  assumed  that 
the  student  using  this  textbook  has  either  acquired,  or  is 
acquiring  the  fundamental  principles  of  Harmony,  it  is  essen- 
tial to  emphasize  somewhat  the  subject  of  Modulation. 

2.  While  modulation  is,  strictly  speaking,  a  change  of 
mode,  the  word  is  now  universally  employed  to  indicate  any 
change  of  key.  The  process  of  modulation  may  be  brief  or 
extended.  It  is  brief  when  the  key-change  is  more  or  less 
abruptly  established.  It  is  extended  when  the  harmonic 
process  of  key-change  involves  several  measures  instead  of  a 
few  chords. 

3.  In  practically  all  the  analysis  that  will  come  before 
the  student,  he  will  find  the  new  key  established  through  the 
introduction  of  its  own  dominant.  Therefore,  in  j)assing  from 
C  major  to  G  major,  the  "open  door"  to  the  latter  key  is  the 

chord  EMj5§  I     This  chord  may  be  presented   in  one   of 

almost  countless  ways.  (A  chord  of  all  four  tones  sound- 
ing simultaneously,  or  of  three  tones,  as  a  broken  chord  in 
one  voice  part,  as  a  broken  chord  distributed  through  two 
or  more  voice  ])arts,  etc.)  All  dominant  sexenth  chords 
should,  then,  I)e  thoroughly  mastered,  so  that  their  appear- 
ance even  in  unusual  keys  is  immediately  recognized. 
While  remote  keys  {D^,  -l^r,  ^'-ff  major,  for  example)  are 
rarely  u^e<l,  they  do  occur,  and  should  oltcr  no  dilliculty. 


I07 

4.  It  is  recommended  that  the  dominant  seventh  chords 
be  written  out  and  resolved,  in  all  major  (and  minor)  keys; 
that  a  certain  portion  of  time  devoted  to  elementary  study 
of  Form  be  limited  entirely  to  harmonic  analysis.  While 
the  student  becomes  acquainted  with  all  possible  chords  in 
his  study  of  Harmony,  he  cannot  fail  to  observe  that  the 
composers,  particularly  those  of  the  Classical  School,  are 
sparing  in  their  use  of  chords  but  of  exhaustless  resources 
in  the  Forms  in  which  they  present  them.  If  the  student 
will  compare  the  following  with  any  page,  or  dozen  pages, 
of  Haydn,  Mozart,  or  Beetho\'en,  he  will  be  convinced  that 
no  such  compact,  constantly  changing  harmonic  progression 
is  current  in  their  works.  This  music  consists  of  fifteen 
chords,  no  two  of  which  successively  present  the  same 
harmony. 


We  have  only  to  turn  to  almo<^t  any  passage  in  a  classical  com- 
]X)sition  to  note  that  the  composer's  method  (with  chords)  is 
to  i)rolong  them,  to  present  them  in  infinite  rhythmic  variety 
and  seldoni  (save  in  brief  sec|ucntial  j)assages)  to  employ 
frequent  chord  changes.  The  following  from  the  So>!f^  icitk- 
out  Words,  No.  28,  by  Mendelssoim,  will  illustrate  what  use 
of  a  single  chord  is  possible  when  skillfully  employed. 


io8 


Felix  Mendelssohn 


Here  are  twenty-two  tone-groups,  of  which  all  but  one  are 
the  tonic  triad  of  G  major.  Only  one  single  tone  foreign  to 
the  chord-harmony  is  employed. 

5.  Just  as  the  general  chord-body  is  thus  spun  out,  pro- 
longed by  the  rhythmic  impulse,  so  in  modulatory  groups 
the  same  principle  is  followed,  always  excei)ting  certain 
forms  of  sequential  passages  which  generally  are  but  pro- 
gressions from  a  chord  to  another  ])osition  of  itself  or  to  a 
nearly  related  chord.  The  cadence  group  which  always 
ends  in  some  form  of  the  Dominant-Tonic  harmony  may  be 
prepared,  or  led  up  to,  by  a  chord  or  chords  that  invol\-e 
both  keys  in  the  modulation:  (i)  that  from  which  the  har- 
mony is  proceeding,  and  (2)  that  to  which  it  is  progressing. 
Hence,  the  V-I  progression  is  often  expanded  to  ii-\'-I 
or  IV-V-I  or  IV-ii-V~I. 

6.  In  all  modulations  some  common  factor  between  the 
keys  in\ol\'ed  must  smooth  the  way.  Hence  the  ap])arently 
unrelated  keys  of  C  major  and  F^  major  are  unified  when 


I09 


between  these  two  chords  (one  of  which  is  V^  in  F^^  major) 
are  introduced  which  possess  a  common  tonal  quantity. 
Thus: 


In  this  illustration  the  relationship  is  so  close  that  the  chords 
merge  each  into  the  next  with  perfect  smoothness.  The 
modulation  from  C  major  to  E  minor  presents  another 
feature  of  relation. 


iiH 


is: 


H 


In  this,  the  first  three  chords  arc  common  to  both  keys,  and 
the  change  of  tonic  results  as  naturally  as  possible. 

7.    In  modulation  analysis  (as  a  component  of  Form  struc- 
ture) the  essential  facts  to  determine  are: 

1 .  What  chords  are  employed  ? 

2.  How  much  of  the  metrical  total  is  given  to  each  chord? 
Simple  modulations  like  those  given  in  this  chapter  should 

be  worked  out  by  the  student.* 

*  See   Second   Year  Harmony  by  Thomas  Tapi:)er,  Chapter  XXI, 
Page  115. 


CHAPTER  XXV 
RECAPITULATION 

1.  The  mastery  of  a  foreign  language  results  only  in  part 
from  the  grammatical  text-books  one  may  use.  Along  with 
them  as  "guide  and  counsellor"  there  must  go  two  other 
operations  —  that  of  listening  and  that  of  speaking.  In 
these  the  language  is  vital  and  full  of  meaning;  in  the  gram- 
mar we  find  it  a  skeleton  unclothed  of  flesh,  and  spiritless. 
There  is  this  same  vital  possibility  in  all  study,  that  of 
which  this  book  treats  being  no  exception;  and  while  a  text- 
book may  point  the  way  in  the  study  of  Music  Form,  only 
the  actual  music  itself  contains  the  secret  of  this  phase  of 
the  art  in  its  fullness.  Hence,  while  a  certain  amount  of 
analysis  is  provided  for  in  the  accompanying  volume  (Musi- 
cal Form  and  Analysis),  every  piece  of  music  is,  more  or  less, 
an  individual  t>'pe,  and  should  be  known  intimately  on  the 
basis  of  its  individuality. 

2.  All  music,  then,  taken  up  for  study,  should  first  be 
carefully  analyzed  for  its  formal  structure,  and  this  struc- 
ture indicated  by  lines,  of  which  process  frequent  illustra- 
tions have  been  given  in  this  text.  It  has  already  been 
pointed  out  how  this  serves  the  memory;  it  does,  in  fact, 
give  the  music  under  consideration  such  distinctiveness  that 
it  is  not  only  more  readily  remembered  but  it  can  scarcely 
be  Mwremembered.  We  rarely  forget  what  we  take  in  con- 
structively, and  back  of  most  cases  of  poor  memory  is  a 
lack  of  the  synthetic  process  resulting  from  the  analytical 
process. 


Ill 

3.  In  the  earlier  chapters  of  this  book  certain  exercises 
entitled  Constructive  Work  are  given.  They  should  be  car- 
ried on  as  far  as  the  student  can  possibly  take  them.  Even 
if  his  efforts  at  constructing  music  be  uninspired  by  genius, 
some  of  the  secrets  of  the  synthetic  process  must  necessarily 
become  familiar  to  him,  and  thus  he  is  more  intimately 
acquainted  with  the  same  process  as  the  cause  back  of  the 
effect  on  the  printed  page. 

4.  The  fact  that  Form  in  music  is  not  a  visible  element 
as  it  is  in  such  designs  as  the  one  on  page  29,  makes  con- 
structive work  all  the  more  necessary.  It  also  suggests  that 
the  student  of  Music  Form  may  profitably  carry  on  his  study 
into  the  domain  of  the  other  arts  and  attempt  to  determine 
by  what  process  of  "lay-out"  the  painter  subdivides  his 
canvas  into  its  major  and  minor  portions.  Invariably  the 
twofold  or  threefold  (Binary  or  Ternary)  arrangement  is 
discoverable  in  a  painting  as  it  is  in  music.  There  may  not 
be  —  there  seldom  is,  in  fact  —  absolute  spatial  balance. 
The  painter  works,  much  as  the  composer  does,  with  the 
factor  of  qualitati\e  (not  quantitative)  relations.  But  the 
architect  must  at  all  times  establish  an  exact  quantitative 
(and  not  ciualitative)  balance,  or  his  work  fails  to  satisfy  the 
demand  of  the  eye  for  perfect  symmetry. 

5.  The  factor  of  qualitative  relation  lieing  not  only  pcr- 
missil)le  in  music  but  entirely  preferable  to  exact  mensural 
repetition  and  indentity,  brings  before  us  t\^)es  in  which  the 
composer  seenis  to  take  liberties  with  the  Form.  He  docs 
this  for  tlie  very  natural  reason  that  for  him  there  is  no 
such  thing  as  an  absolutely  fixed  outline.  He  shapes  his 
material  to  exjiress  his  meaning,  and  if  he  be  a  genius  both 
his  material  and  his  message  will  spring  not  from  the  rubrics 


112 

of  a  text-book  but  from  the  mind  and  heart.  While  there 
are  comparatively  few  types  of  Form  in  music,  there  are 
countless  variations  of  each  of  them  in  the  compositions  of 
greater  writers,  and  the  interesting  phase  of  a  composer's 
treatment  of  Form  is  never  his  strict  adherence  to  its  de- 
mands alone,  but  this  plus  the  modifications  which  his  mes- 
sage makes  necessary.  It  is  for  this  reason  that  while  we 
have  but  one  specific  outline  for  the  building  of  a  Sonata- 
form  movement,  there  are  countless  variations  of  it  in  the 
music  of  the  master  composers. 

6.  The  subject  matter  of  Chapter  XIV  was  introduced  to 
show  that  however  simple  a  well-written  composition  may 
be,  it  is  always  admirably  constructed,  formally,  to  carr}'  its 
meaning;  or,  in  other  words,  to  present  itself  and  its  message. 
Popular  music,  of  the  poorer  (and  poorest)  kind,  not  only 
fails  in  structure  but  in  meaning  also.  Its  plane  of  elevation 
is  so  low  that  it  does  not  call  forth  any  significance  of  struc- 
tural lines.  Hence,  the  essential  basis  for  the  selection  of 
good  teaching  material  is  found  in  the  words:  Beauty, 
ISIeaning,  and  Expression.  Beauty  is  the  inherent  ciuality 
of  attractiveness.  Meaning  implies  the  message.  And  by 
Expression  we  refer  to  the  upbuilding  of  the  thought  into  a 
concrete  composition. 

7.  While  the  general  characteristics  of  the  Schools  of 
Composition  have  been  sufficiently  referred  to  here,  for  the 
pur])()ses  of  this  text,  it  is  well  worth  the  student's  time  and 
effort  to  acquaint  himself  by  readings  in  Music  History  with 
the  cause  that  led  to  the  development  of  each  School  and 
its  gradual  exolution  into  a  freer  and  fuller  form  of  ex])rcs- 
sion.  Taken  in  order,  the  historic  account  of  the  following 
will  acfjuaint  one  wilii  the  rise  and  development  of  this 
phase  of  music: 


"3 

1.  The  School  of  Lassus  and  Palestrina. 

2.  The  Contrapuntal  School  of  Bach  and  Handel. 

3.  The  Classical  School  as  consummated  in  the  works  of 
Haydn,  Mozart,  and  Beethoven. 

4.  The  Romantic  School  of  early  Nineteenth  Century. 

5.  The  Works  of  Brahms,  characteristic  in  having  their 
roots  in  the  Classic  and  Romantic  Schools,  and  yet  their 
floresence  in  the  Modern  School. 

6.  The  Present  day  School  of  Debussy,  Strauss,  and 
others. 

The  corresponding  literary  development  will  throw  much 
light  on  the  movement  of  one  School  into  the  next  succeed- 
ing —  for  the  thought-message  of  any  period  is  expressed  in 
prose  and  verse  before  it  is  fully  characterized  in  music  or 
painting. 

8.  The  Test-Papers  given  in  Chapter  XIX  are  intended 
to  serve  as  models  for  similar  tests  to  be  made  from  the 
Lessons  of  this  book,  and  also  to  illustrate  how  examinations 
in  Music  Form  are  prepared  for  test  by  various  academic 
bodies.  If  the  student  will  study  these  papers  faithfully,  he 
will  establish  for  himself  a  standard  of  attainment  that  is 
based  upon  the  actual  proceeding  of  institutions.  Similar 
papers  in  music  will  be  found  in  the  other  volumes  of  the 
First  Year  series. 


First  Year  Musical  Theory 

(RUDIMENTS  OF  MUSIC) 
BY 

THOMAS   TAPPER 

"Price  $1.00 

This  is  a  simple,  readable  text  upon  all  the  matter  that  is  generally  in- 
cluded in  Rudiments  of  Music. 

While  the  effort  of  the  author  has  been  to  make  the  reading  matter  of 
the  chapters  as  thoroughly  interesting  as  the  subject  permits,  the  student 
is  assured  of  gaining  all  the  technical  knowledge  that  is  included  under 
the  subject  matter  through  the  test  questions  that  accompany  the  various 
chapters. 

The  origin  of  words  and  symbols  as  used  in  music  is  traced  whenever 
possible.  The  book  abounds  in  music  illustrations  which  amplify  the 
meaning  of  the  English  text.  The  questions  at  the  end  of  the  various 
chapters  require  a  considerable  amount  of  written  work,  and  through  this 
requirement,  familiarize  the  student  with  all  the  technical  features  of  musi- 
cal notation. 

The  book  is  valuable  as  a  reference  source.  It  contains  a  well-selected 
list  of  musical  terms.  All  the  major  scales  are  given  in  tabular  form. 
The  three  forms  of  the  minor  scales  are  similarly  presented,  and  the  book, 
in  conclusion,  presents  a  number  of  test  papers  actually  set  in  schools, 
colleges,  and  universities,  indicating  to  what  extent  musical  theory  is  re. 
quired  in  institutions  of  higher  learning  as  preparatory  knowledge. 


FIRST  YEAR  HARMONY 

BY 

THOMAS  TAPPER 

PRICE  $1.00 

A  simple  presentation  of  chord  construction  and  melody. 

After  introducing  lessons  on  Intervals  (both  Harmonic  and 
Melodic),  the  study  of  chords  and  melodies  is  taken  up  sys- 
tematically, and  proceeds  to  the  Secondary  Seventh  Chord 
on  the  supertonic,  with  a  chapter  on  Suspensions  and 
Passing  Tones. 

A  clear  explanation  of  every  necessary  process  is  given. 

Review  chapters,  as  examination  test  papers,  are  frequent. 
They  emphasize  every  essential  point. 

The  text  is  freely  illustrated  by  musical  examples. 

The  single  purpose  of  the  book  is  to  make  the  student 
the  master  of  the  processes  explained. 

Hie  relation  of  Harmony  to  music  analysis  is  kept  con- 
stantly before  the  student. 

The  exercises  to  be  worked  out  are  numerous,  and  are 
presented  in  various  forms. 

The  lessons  are  particularly  practical,  in  that  they  cul- 
tivate the  power  to  THINK   IN   TONE. 

FIRST  YEAR  HARMONY  has  been  recommended  by 
many  private  teachers.  It  has  also  been  adopted  as  a 
regular  text  book  in  the  Music  Department  of  many  schools 
and  universities. 

ARTHUR    P.    SCHMIDT 

BOSTON  NEW  YORK 

120  Boylston  St.  8  West  40th  St 


Second    Year   Harmony 

BY 

THOMAS  TAPPER 

(A  SEQUEL  TO  "  FIRST  YEAR  HARMONY  ") 
"Price  $1.00 


This  book  is  divided  into  two  parts. 

In  Part  I,  all  chords  are  presented,  one  at  a  time,  in  major 
and  minor:  (a)  for  Analysis,  (b)  for  Tone  Study  through 
the  voice,  (c)  for  use  in  Phrase  and  Period  forms. 

As  a  basis  for  the  analysis  of  vocal  or  instrumental  music 
this  form  of  presentation  is  practical  and  necessary. 

Review^  chapters  emphasize  all  essential  principles  and 
form  the  basis  of  examination  test  papers. 

In  Part  II,  the  Open  Position  is  taken  up  and  exercises 
requiring  the  use  of  specific  chords  are  given. 

By  the  process  of  emphasizing  a  certain  chord  in  each 
lesson,  the  pupil  learns  of  that  chord  as  he  learns  a  word  in 
a  foreign  language.  Its  meaning,  connection,  motion,  and 
force  are  made  clear. 

Test  papers  set  by  schools  and  colleges  are  given  in  the 
Appendix,  together  with  other  pedagogic  matter  that  is  sug- 
gested by  the  Lessons  of  the  book. 


f  TEXT-BOOKS 

For  Music  Students 

ELEMENTARY 

GLADYS  CUMBERLAND  Net 

A  Short  Primer  in  the  Elements  of  Music  .40 

STEPHEN  A.  EMERY 
Elements  of  Harmony  1.25 

A  Key  to  "Elements  of  Harmony"  1.00 

Supplementary  Exercises  to  "Elements  of 

Harmony"  -76 

THOMAS  TAPPER 

First  Year  Harmony  1.00 

First  Year  Melody  Writing  1.00 

First  Year  Musical  Theory  1.00 

Key  to  First  Year  Harmony  .75 

INTERMEDIATE 

ARTHUR   FOOTE 
Modulation  and  Related  Harmonic  Questions      1.25 
Some  Practical  Things  in  Piano  Playing  .60 

ARTHUR  FOOTE  and  WALTER  R.  SPALDING 
Modern  Harmony  in  its  Theory  and  Practice        1.50 
A  Key  to  the  501  Exercises  in  "Modern 
Harmony"  1.00 

ARTHUR  E.  HEACOX 
Keyboard  Training  in  Harmony,  Two  books,  ea.  1.00 

EDWARD  MACDOWELL 
Critical  and  Historical  Essays  2.00 

THOMAS  TAPPER 
Second  Year  Harmony  1.00 

First  Year  Counterpoint  1.00 

First  Year  Analysis  (Musical  Form)  1.00 

Musical  Form  and  Analysis  (Supplementary 
Material  to  "First  Year  Analysis")  .75 

ADVANCED 

WALTER  R.   SPALDING 
Tonal  Counterpoint  2.00 

Music :  An  Art  and  a  Language  2.5U 

Supplementary  Illustrations  for  "Music :  An 

Art  and  a  Language"  Four  books,  each      1.00 

THE  ARTHUR  P.  SCHMIDT  CO. 

BOSTON  NEW  YORK 

120  Boylston  Street  8  West  40th  Street 


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